LIBRARY  OF  "S  ^/(l? 
CHAMPAIGN,  ILLINOIS. 


BOOKS  ARE  NOT  TO  BE  TAKEN  FROM  THE  LIBRARY  ROOM. 


4  Instruction. 


[1st  Frontispiece.) 


FORMING  THE  BOWER. 

See  page*  108  &  114. 


f  Adopted  by  the  Board  of  n 


THE  GYMNASIUM  AT  HOME. 


fttHity  uwt  gumt^mcnt  &omlmwl 


BARNETT’S  PATENT 

PARLOR  GYMNASIUM 


AND 


FOR  SCHOOLS  AND  FAMILIES. 

FOR  THE  YOUNG.  OLD  AND  MIDDLE-AGED;  FOR  THE  NARROW- 
CHESTED  ;  FOR  THE  ROUND-SHOULDERED  ;  FOR  PERSONS 
AFFLICTED  WITH  SPINAL  DISTORTIONS;  FOR  DYS¬ 
PEPTICS;  FOR  LADIES  SITTING  AT  THE,  BE  WING 
MACHINE,  AND  ALL  PERSON 
SEDENTARY  EM  PL 


S.  M.  BARNET 


New  York . 1140  BROADWAY. 

J.  BECKER  &  CO.  , 

SOLE  AGENTS. 


John  Polhemus,  Printer,  102  Nassau  Street,  New  York. 


MV"1' 


r 


\P 


[Entered  according  to  Act  of  Congress,  by  8.  M.  Barnett ,  in  the 
office  of  the  Librarian  of  Congress ,  at  Washington , 
in  the  Year  a.d.  1871.] 


Engraved  by  G.  D.  Hammar,  208  Broadway. 


5  A- 


PREFACE. 

It  is  not  purposed  to  elaborate  an  essay  on  the  sub¬ 
ject  of  physical  training  in  a  work  of  this  kind,  but  a 
few  remarks  thereon  may  be  deemed  appropriate. 
The  importance  and  necessity  of  a  certain  amount  of 
physical  culture  should  be  patent  to  all.  It  is  not 
necessary  for  every  one  to  become  a  prize  fighter  or  a 
Hercules,  nor  has  nature  endowed  all  with  an  equal 
amount  of  strength,  but  a  judicious  system  of  train¬ 
ing  will  foster  and  develop  that  which  has  been  al¬ 
lotted. 

Many  suppose  jumping,  ball  playing,  sawing  wood, 
boating,  and  such  like  exercises,  to  be  all  that  are  ne¬ 
cessary.  This  is  a  great  error.  Very  violent  exercise 
and  hard  work  consume  the  vital  forces,  but  do  not 
cultivate  them,  for  the  physical,  like  the  intellectual, 
requires  systematic  culture.  Compare  the  action  of 
study,  and  we  shall  be  coimnced  that  it  is  a  mental 
calisthenic  developing  by  exercise  the  faculties  and 
forces  of  the  brain.  Power  is  subservient  to  Sys¬ 
tem,  and,  utilized  by  it  alone,  a  disciplined  body  of 
troops  is  capable  of  effecting  more  than  an  unsyste¬ 
matized  rabble.  The  same  rule  will  apply  to  the  phy¬ 
sical  forces,  the  muscles  being,  as  it  were,  disciplined 
soldiers,  ready  at  the  will  of  their  officer,  the  brain, 
to  perform  the  evolution  witli  precision  and  an  appro¬ 
priate  distribution  of  force. 

“It  is  better  to  seek  to  develop  the  entire  nature, 
intellectual,  moral  and  physical,  than  to  force  one  part 


8 

of  it  into  a  prominence  that  stunts  and  kills  the  rest.” 
—  The  Country  Parson . 

It  would  be  well  if  the  suggestion  contained  in  the 
above  lines  were  more  frequently  acted  on.  In  thou¬ 
sands  of  instances,  either  through  ignorance  of  natur¬ 
al  laws  or  the  false  pride  of  parent  or  tutor,  the  mental 
stomach,  so  to  speak,  is  surfeited  with  food  which  a 
weak  and  uncultured  physical  organization  is  forced  to 
aid  in  digesting,  giving  to  only  one  part  the  portion 
which  is  the  natural  heritage  of  all.  So  prominent 
has  this  fact  become,  that  public  functionaries  have 
called  special  attention  to  it.  A  correspondent  of  the 
N.  Y  World ,  under  date  of  April  22,  prefaces  the 
report  of  the  State  Board  of  Education  of  Massachu¬ 
setts  upon  this  subject  with  the  following  remarks  : 

“  There  is  a  want  of  proper  equilibrium  between 
the  mind  and  the  body,  and  a  proper  effort  to  culti¬ 
vate  physical  health  and  development.  One  set  of 
School  Committeemen  furnishes  this  picture.  Go  into 
one  of  our  schoolrooms,  and  the  number  of  pale  faces, 
of  narrow  chests  arid  round  shoulders  that  you  see, 
tell  of  over  application  and  of  the  sowing  of  the  seeds 
of  a  multitude  of  diseases  which  the  after  life  must 
ripen.  The  thin,  weak  voices  which  you  hear  at  reci¬ 
tation  tell  of  a  lack-  of  physical  vigor,  from  which  you 
can  anticipate  sad  results.”  Not  only  in  Massachu¬ 
setts,  but  in  every  other  State,  does  this  evil  exist  to 
a  greater  or  lesser  extent. 

If  we  make  a  comparison,  we  shall  find  that  the 
chest  is  to  the  human  body  what  the  boiler  is  to 
the  steam  engine — it  makes  the  motive  power,  the 
stomach  being,  so  to  speak,  the  furnace,  receiving  the 
fuel  in  the  shape  of  food  ;  the  steam  (vitality)  is  gen- 


9 

crated  by  the  combined  action  of  the  lungs,  heart  and 
minor  thoracic  organs  ;  hence  the  importance  of  a 
healthy  chest  development.  Dr.  Dio  Lewis,  in  “  The 
New  Gymnastics,”  says:  “  Since  we  have,  unhappily, 
become  a  military  people,  the  soldier’s  special  training 
lias  been  much  considered  as  a  means  of  general  physi¬ 
cal  culture.  Numberless  schools,  public  and  private, 
have  already  introduced  the  drill,  and  make  it  a  part 
of  each  day’s  exercises.  But  this  mode  of  exercise 
can  never  furnish  the  muscle  culture  which  we  Ameru 
cans  so  much  need.  Nearly  all  our  exercise  is  of  the 
lower  half  of  the  body  ;  we  walk,  we  run  up  and  down 
stairs,  and  thus  cultivate  hips  and  legs,  which,  as  com¬ 
pared  with  the  upper  half  of  the  body,  are  muscular, 
but  our  arms,  shoulders  and  chest  are  ill-formed  and 
weak.  Whatever  artificial  muscular  training  is  em¬ 
ployed  should  be  directed  toward  the  upper  half  of 
the  body.  Need  I  say  that  the  military  drill  fails  to 
bring  into  varied  and  vigorous  play  the  chest  and 
shoulders  ?  Indeed,  in  almost  the  entire  drill 

ARE  NOT  THESE  PARTS  HELD  IMMOVABLY  IN  ONE  CON¬ 
STRAINED  position?  In  all  but  the  cultivation  of  up¬ 
rightness,  the  military  drill  is  singularly  deficient  in 
the  requisites  of  a  system  of  muscle  training  adapted 
to  a  weak  chested  people.”  How  many  parents, 
and  even  educators,  condescend  to  give  a  serious 
thought  to  the  proper  physical  education  of  those 
committed  to  their  charge.  They  seem  to  forget  that 
i  the  use  of  the  body  is  to  feed  and  sustain  the  mind . 

While  they  glow  with  pride  at  the  evidences  of  a  tho- 
!  rough  mental  training  displayed  by  their  young,  they 
would,  doubtless,  treat  with  derision  or  contempt  the 
*  suggestion  of  systematic  physical  culture .  Look  at  the 


. 

poor  clerk,  seamstress,  or  any  of  those  unfortunates 
whose  occupations  Tire  sedentary,  and  whose  means  per¬ 
mit  but  a  brief  relaxation  or  change  of  air,  if  any  at  all. 
In  vain  do  they  have  recourse  to  medicines — the  nar¬ 
row  chest,  the  blanched  and  hollow  cheek  and  bloodless 
lips  are  there.  Tell  them  that  the  chest  needs  expan¬ 
sion  and  the  lungs  inflation,  by  a  system  of  mild  or 
light  gymnastic  exercise,  some  will  smile  incredulous¬ 
ly,  having  all  their  faith  invested  in  drugs,  and  conse¬ 
quently  none  to  spare  for  the  consideration  of  natural  j 
facts.  Others  will  urge  that  a  suitable  place,  and  too  j 
great  an  amount  of  time  and  preparation,  which  they 
cannot  spare  from  their  business  avocations,  would  be 
necessary  for  the  Gymnasium,  besides  the  fatigue  and 
j  expense  attendant.  As  this  apparatus  can  be  adapted 
to  very  nearly,  if  not  all,  of  the  exercises  performed 
with  dumb  bells,  Indian  clubs,  wands,  rings,  &c., 

!  combined,  it  is  designed  to  obviate  these  difficulties, 
the  book  serving  as  instructor,  and  the  apparatus  as  a 
convenient  Gymnasium ,  ever  at  hand,  and  both  at 
such  a  comparatively  trifling  cost  that  there  is  no  rea¬ 
son  why  any  one  should  be  puny,  round-shouldered 

OR  AWKWARD  IN  THEIR  MOVEMENTS. 


£ntrofcttci*Pg 


MENS  SANA  IN  CORPORE  SANO. 


Iii  the  various  efforts  put  forth  by  the  instructors 
and  advocates  of  physical  culture  to  benefit  mankind, 
there  has  hitherto  been  many  disadvantages  to  con¬ 
tend  against.  With  some  it  has  been  in  the  necessity 
for  a  low-priced  apparatus,  combined  with  effective¬ 
ness,  so  as  to  be  within  the  means  of  rich  and  poor; 
with  others  it  has  been  convenience  and  simplicity  of 
construction.  There  is  the  Gymnasium,  with  its  mul¬ 
tiplicity  of  appliances  and  requisites  of  special  cos¬ 
tume  and  location  ;  there  is  the  dumb-bell,  dumb  in 
its  dead  weight,  but  loud  enough  in  its  heavy  strain  • 
there  is  the  Indian  club,  aboriginal  in  name,  and  per¬ 
haps  as  primitive  in  origin,  both  lacking  in  important 
essentials,  and  either  of  which,  if  not  very  heavy,  are 
used  in  “merely  dashing  and  fisting  the  air,  with 
nothing  to  stay  the  arms  in  their  movement,”  as  Prof. 
Clark  says ;  there  is  the  “  Health-lift,”  an  apparatus 
costing  from  $100  to  $300;  besides  many  other  single 
or  combined  apparatuses,  which  are  found  to  be  either 
too  ineffective,  cumbersome  or  expensive. 

Barnett’s  Parlor  Gymnasium  and  Chest-Expander 
is  designed  for  graceful,  easy  and  effective  exercise. 
It  does  not  necessitate  special  dress,  locality  or 
preparation,  but  is  a  light  portable  apparatus,  pos¬ 
sessing  a  remarkable  advantage  over  dumb-bells,  In 
dian  clubs,  &c.,  in  its  perfect  adaptability  to  the 


12 

USE  OF  ALL  PERSONS,  OF  BOTH  SEXES,  AND,  FROM  ITS 
ELASTICITY,  PRESENTING  A  SERIES  AND  VARIETY  OF  EX¬ 
ERCISES  UNATTAINABLE  BY  ANY  OTHER  APPARATUS. 

Calling  into  play  a  sufficiency  of  muscular  action, 
without  being  ponderous,  its  peculiarity  is  to  impart 
the  “  poetry  of  motion  ”  to  every  movement ;  and  in 
this  respect  the  Greek  word  “  Calisthenics,”  signify¬ 
ing  “  beautiful  and  strength,”  is  applicable  to  it. 

Nothing  can  present  a  nearer  resemblance  to  or  har¬ 
monize  more  closely  with  the  action  of  the  muscles 
themselves  than  this  apparatus.  It  will  be  seen  that 
every  movement  carries  wilh  it  a  reflex  action  ;  thus, 
if  you  move  the  arm,  the  elasticity  of  the  band  exerts 
a  force  to  bring  it  back  again,  or  resists  the  same 
movement,  creating,  if  desired,  a  double  action  to 
every  exercise. 

It  will  fit  you  for  the  elegancies  of  the  ball-room  or 
parlor,  impart  a  free  elasticity  to  every  movement, 
change  your  awkward,  shuffling  gait  to  erect  and 
graceful  carriage ;  teach  precision  and  accuracy  to  the 
military  man  ;  by  its  use  the  dancer ,  the  orator ,  the 
actor  may  acquire  an  ease  and  grace  which  few  other 
exercises  can  impart. 

For  ladies  it  is  a  light  and  pleasant  parlor  exercise, 
and  counteracts  the  effects  of  bending  over  a  book  or 
sewing.  Clerks,  lawtyers,  students  and  ministers 
recognize  its  usefulness  and  convenience,  as  it  can  be 
carried  in  the  pocket,  ready  for  use  at  any  mo¬ 
ment  during  study,  many  exercises  being  performed 
without  the  necessity  of  rising  from  the  seat. 

It  will  strengthen  weak  lungs. 

For  neuralgia,  headache,  sleeplessness,  and 

!  OTHER  NERVOUS  COMPLAINTS - 


13 

Employ  almost  any  of  the  2d  series  of  these  exer¬ 
cises,  keeping  tight  grasp  of  both  handles ,  and  repeat¬ 
ing  the  exercises  at  intervals.  The  course  of  its  action 
being  through  the  spinal  column  to  the  nervous  plex¬ 
uses  and  base  of  the  brain,  its  influence  brings  every 
nerve  fibre  into  play,  x\cting  almost  like  ax  electric 

|  BATTERY,  AND  INDUCING  AN  EQUALIZATION  OF  THE  CIR¬ 
CULATION  OF  THE  BLOOD. 

Persons  of  weak  constitutions  or  in  delicate  health 
will  find,  by  the  stExAdy  use  of  this  apparatus,  a  visi¬ 
ble  increase  of  strength,  by  commencing  with  the  No. 

1,  and  continuing  with  this  number  until  capable  of 
using  a  No.  3,  and  so  on  to  the  other  sizes. 

In  another  part  of  this  book  are  given  some  exam- 
i  pies  of  postures,  combined  exercises,  tableaux,  quad¬ 
rilles,  waltzes,  &c.,  &c.,  showing  the  versatility  of  ex- 
ersise  possible  with  this  apparatus.  In  some  instances 
it  has  been  substituted  for  croquet  as  an  out-door  and 
parlor  entertainment.  The  various  figures,  tableaux, 
&c.,  present  quite  a  beautiful  effect,  and,  by  the  exer-  j 
cise  of  a  little  judgment,  an  almost  endless  variety 
can  be  invented. 

According  to  the  manner  of  using  this  apparatus, 
the  amount  of  force  and  weight  employed  can  be 
graduated  at  will ;  thus,  in  the  “  Pulleys,”  the  “  Health- 
lift,”  and  several  other  exercises,  the  effect  can  be  made 
just  the  same  as  that  caused  by  the  lifting  of  heavy 
weights,  without  the  strain  usually  consequent  upon 
such  exertion  ;  while  in  many  ways  it  can  be  made  to 
act  directly  upon  the  nervous  system.  Those  who 
use  this  apparatus  pronounce  it  the  “  sum  mum  bonum” 
of  all  modes  hitherto  invented  for  physical  culture. 


TESTIMONIALS. 


A  few  of  numerous  testimonials  are  here  submitted  : 
From  the  Hon.  Henry  Kiddle,  A.  M. 

Department  of  Public  Instruction,  ) 
Superintendent's  Office,  > 

146  Grand  St.,  New  York,  June  19,  1871.  ) 

'Die  “Parlor  Gymnasium  and  Chest-Expander”  of 
Dr.  Barnett  has  been  used  in  very  many  of  the  public 
I  schools  of  this  city,  and  has  been  found  a  very  valua- 
|  ble  aid  in  conducting  exercises  for  physical  culture. 

|  No  apparatus  that  I  have  seen  seems  to  be  so  well 
|  calculated  to  promote  the  object  designed,  while  the 
exercises  with  it  are  agreeable,  graceful,  and  appro¬ 
priate  for  schools. 

HENRY  KIDDLE, 

City  Superintendent. 

From  the  N.  Y.  Sun,  April  22. 

The  male  department  of  Grammar  School  No.  26,  in  West 
Thirtieth  street,  exhibited  its  proficiency  yesterday. 

The  “  Gymnastic  Exercises,  by  a  class  of  sixty,  with  Bar¬ 
nett’s  Parlor  Apparatus,”  wTas  the  most  attractive  feature  in 
the  exhibition. 

*  *  *  *  *  *  *  *  * 

From  the  New  York  Ev'g  Mail ,  April  28. 

At  the  invitation  of  the  Principal  of  Grammar  School 
No.  26,  a  large  number  of  Principals  and  teachers  assembled 
this  morning  in  the  chapel  of  the  school  in  West  Thirtieth 
street,  to  witness  an  exhibition  by  the  scholars  of  calis- 
tlienic  exercises  with  an  apparatus  known  as  “  Barnett’s 
Parlor  Gymnasium  and  Chest  Expander.”  Previous  to  the 
exercises  in  calisthenics  the  scholars  repeated  the  exercises 


15 

which  were  performed  at  their  reception  a  few  days  since.  ! 
The  apparatus  is  very  simple,  consisting  of  only  a  hand  of  j 
rubber  about  two  feet  long,  with  a  piece  of  wood  at  each  end 
for  a  handle.  The  exercises  were  performed  in  concert  by  a 
class  of  about  fifty  boys,  and  consisted  of  placing  the  band  in 
various  positions  and  stretching  it  in  time  with  music.  In  this 
manner  the  muscles  of  the  whole  upper  portion  of  the  body 
are  brought  into  play,  and  naturally  developed.  The  system 
has  been  introduced  into  several  of  the  public  schools,  and  a 
large  number  of  private  schools  are  also  using  it. 

From  the  New  York  Herald  of  April  29,  1871. 

Owing  to  the  crowded  condition  of  the  halls  of  the  new,  spa¬ 
cious  and  elegant  building  near  Broadway,  in  West  Thirtieth 
street,  at  the  late  “reception”  by  the  pupils  of  Grammar 
School  No.  26,  the  programme,  by  general  request,  was  yes¬ 
terday  repeated  to  a  large  audience.  Evergreens  and  flowers, 
busts  and  statuets  added  the  charms  to  the  bouquet  of  600  i 
youths  that  filled  the  chapel  at  ten  A.  M. 

*£•*•&**  -X-  -X-  vr  vr  -X 

But  the  exhibition  in  “  gymnastics by  a  class  of  sixty, 
with  Dr.  Barnett’s  Parlor  Apparatus,  was,  perhaps,  the  most 
interesting  feature  of  the  day.  Such  perfection  of' drill  as 
was  exhibited  is  seldom  seen  in  a  public  school,  and  it  is  pleas¬ 
ing  to  learn  that  physical  culture  is  a  portion  of  the  course  of 
training  in  this  department. 

From  the  Globe,  April  29. 

Public  School  Deception. — Public  school  receptions  are 
becoming  prominent  features  in  our  educational  system,  and 
we  like  the  idea  as  tending  to  greatly  improve  the  spirit  of  the 
scholars.  We  were  present  at  one  of  these  reunions,  given  by 
the  pupils  of  the  Grammar  School  in  Thirtieth  street,  near  j 
Sixth  avenue,  yesterday.  The  room  was  tastefully  arranged, 
and  the  majority  of  the  audience  were  teachers,  who  assembled 
especially  to  witness  a  series  of  gymnastic  exercises  with  an 
apparatus  of  very  simple  construction.  We  were  highly 
pleased  with  the  novelty  as  well  as  efficiency  of  the  apparatus, 
and  the  precision  of  the  boys  in  their  various  evolutions.  Some 
fine  singing  and  recitations  closed  the  exercises. 


16 

From  the  Evening  Post,  April  29. 

The  question  of  physical  culture  in  our  schools  drew  together, 
yesterday,  at  Grammar  School  No.  26,  a  large  number  of  teach¬ 
ers  and  others  to  witness  calistlienic  exercises  with  a  new  ap¬ 
paratus.  The  evolutions  were  performed  by  about  eighty  boys, 
and  were  very  interesting,  eliciting  the  approval  of  the  specta¬ 
tors. 

From  the  N.  Y.  Herald,  June  22. 

Semi-Annual  Display  by  the  Female  Department  of 
Grammar  School  No.  29. — Among  the  many  exhibitions 
which  take  place  in  this  city,  illustrating  progress  in  various 
departments  of  knowledge,  there  is  not  one* that  appeals  so  for¬ 
cibly  for  the  interest  and  regard  of  the  public  as  does  the  semi¬ 
annual  display  in  a  public  school.  Yesterday  afternoon  one 
of  these  interesting  gatherings  occurred  in  the  Female  Depart¬ 
ment  of  the  First  ward  Grammar  School,  when  the  semi-an¬ 
nual  distribution  of  certificates  and  prizes  took  place  before  a 
large  number  of  friends  of  the  pupils. 

*  *  *  *  *  *  ****** 

An  interesting  feature  of  the  display  was  the  exercise  in  calis¬ 
thenics,  with  Barnett’s  Parlor  Apparatus,  in  which  the  children, 
in  sections,  went  through  the  various  parts  in  response  to  or. 
ders  given  on  the  piano. 

*****  *  *  *  *  * 

From  the  New  York  School  Journal  o  f  June  24. 
********** 

The  calistlienic  exercises  with  Barnett’s  Parlor  Apparatus, 
|  lately  introduced  into  the  schools,  cannot  be  too  highly  praised, 
I  inasmuch  as  they  help  to  remove,  in  a  measure  at  least,  the  in¬ 
juries  incurred  by  the  close  application  of  the  school-room.  As 
I  shown  at  No.  29,  on  Wednesday,  it  is  evident  that  it  can  be 
made  a  very  showy  affair  for  reception  and  fete  days. 

From  the  N  w  York  School  Journal  of  July  ] . 

The  Reception  of  Grammar  SchooI  No.  41,  Senior  De¬ 
partment,  took  place  on  Wednesday  afternoon,  with  the  fol¬ 
lowing  programme  : 

********** 

A  class  of  one  hundred  girls  gave  a  very  entertaining  per- 
j  formance  with  Dr.  Barnett’s  chest  expanders.  The  handles  of 


17 

the  expanders  were  ornamented  with  ribbons  of  various  colors 
which  blended  in  the  calisthenic  movements,  and  presented  at 
times  the  semblance  of  a  moving  flower  garden.  The  girls 
performed  a  series  of  waltzes  and  quadrilles  illustrating  the 
versatilit}"  of  exercise  of  which  the  apparatus  is  capable.  The 
rubber  bands,  when  crossed,  formed  a  bower,  under  which  each 
girl  turned  in  waltz  movement,  presenting  an  endless  variety 
of  attractive  and  graceful  positions. 

From  the  N.  Y.  Herald,  July  4. 

Exercises  in  Grammar  School  No.  12.— The  distribution 
of  semi-annual  certificates  and  presentation  of  gold  medals 
took  place  in  the  Primary  Department  of  this  school,  in  Madi¬ 
son  street,  on  Friday  afternoon.  The  exercises  consisted  of 
songs,  recitations,  calisthenics,  &c.  The  calisthenic  exercises, 
with  Dr.  Barnett’s  Parlor  Apparatus,  were  particularly  fine, 
and  afforded  additional  evidence  of  the  healthful  advantages 
to  be  derived  from  a  proper  use  of  this  simple  apparatus. 
*********** 

From  the  New  Yorlc  School  Journal ,  July  22. 

Grammar  School  No.  4. — Last  Wednesday  morning  Gram¬ 
mar  School  No.  4,  in  Rivington  street,  near  Ridge,  was 
thronged  with  ladies  and  gentlemen,  who  were  present  to  en¬ 
joy  the  closing  exercises  of  the  Female  and  Primary  Depart¬ 
ments,  on  the  occasion  of  the  distribution  of  semi-annual  cer¬ 
tificates. 

*********** 

The  advantages  resulting  from  calisthenics  were  clearly 
shown  by  a  select  class,  which  gave  an  exhibition  of  gymnas¬ 
tic  exercises  with  Dr.  Barnett’s  chest  expanders. 

*********** 

Grammar  School  No.  24,  Female  Department,  ) 
New  York  City,  1868.  f 

Dear  Sir :  Your  “  Chest  Expander”  has  been  in  use  in  this 
school,  and  I  have  found  that  it  serves  every  purpose  for 
which  it  was  intended.  I  am  highly  pleased  with  it,  and 
think  it  a  desirable  article  for  every  school  and  family. 

Yours,  &c., 

MARGARET  A.  McCOSKER, 
Principal. 


18 

From  Dr.  Dio  Lewis,  author  of  various  Works  on  Physica  l  Culture. 

17  Beacon  Street,  Boston,  June  17,  1868. 

My  Dear  Sir :  Your  new  device  for  exercising  the  mus¬ 
cles  of  the  upper  half  of  the  body  is  an  admirable  one.  The 
great  deficiency  in  the  artificial  means  of  exercise  thus  far  in¬ 
troduced,  is  a  lack  of  adequate  training  for  the  extensor  mus¬ 
cles.  Our  gymnastic  training  falls  upon  the  flexors,  which,  as 
in  the  ordinary  avocations  of  life,  receive  nineteen-twentieths 
of  the  work,  scarcely  need  providing  for  in  systems  of  artificial 
training.  This  contrivance  of  yours  falls  almost  exclusively  ' 
upon  the  extensor  muscles.  In  this  view  it  fills  an  important 
niche,  and  is  really  deserving  of  popular  patronage. 

I  should  be  very  glad  to  see  your  invention  introduced  into 
our  public  and  private  schools.  Its  perfect  adaptation  to 
home  exercise,  for  persons  of  both  sexes  and  of  all  degrees  of 
:  strength,  cannot  fail  to  impress  favorably  every  thoughtful  ; 
person  who  may  examine  it.  I  shall  be  happy  to  assist  you  in  j 
any  and  every  way  in  my  power  to  introduce  your  Chest  Ex-  j 
i  pander. 

I  am,  very  truly,  yours,  DIO  LEWIS. 

115  West  46th  Street,  New  York,  ) 
November  18,  1869.  ) 

Dear  Sir :  I  have  had  your  “  Patent  Parlor  Gymnasium  ”  in 
use  by  the  scholars  of  my  Institute  for  over  eight  months,  and 
am  pleased  to  say  they  have  given  every  satisfaction.  Two  of 
my  children,  a  boy  and  a  girl,  who  were  inclined  to  grow  up 
round-shouldered  have,  by  the  use  of  them,  become  straight, 
and  the  chest  shows  a  healthy  development. 

Very  truly,  yours  S.  E.  HABT, 

Late  Sup’t  Jewish  Orphan  Asylum,  New  York  City. 

Rev.  C.  W.  Scott,  in  a  letter,  dated  Feb.  26,  1868,  having 
|  seen  them  used  by  his  friends,  and  personally  tested  them, 
j  says:  “I  am  fully  convinced  of  their  efficiency  to  effect  a 
j  perfect  development  of  the  body.” 

From  Prof.  B.  B.  Clarke. 

Fitchburg,  Mass.,  Aug.  JO,  1869. 

Dear  Sir  :  1  have  to-day  received  your  box  containing  four  ; 


.  19 

doz.  “  Expanders,”  two  doz.  of  which  are  No.  2,  and  two  doz. 
No.  3.  I  find  that  the  No.  3,  especially,  are  better  adapted  to 
the  strength  of  pupils  of  sixteen  or  seventeen,  and  will  try  the 
muscle  of  a  pretty  good  arm.  I  am  well  aware  that  much  de¬ 
pends  upon  the  teacher  for  the  success  of  calisthenic  exercises, 
as  for  the  other  exercises  of  the  school  room.  I  know,  in  fact, 
that  many  who  succeed  well  in  other  respects  fail  here.  But  I 
also  know  that,  with  something  to  stay  the  arms  in  their  move¬ 
ment,  the  scholar  may  seem  to  be  exercising  for  an  object,  and 
not  merely  dashing  and  fisting  the  air,  there  will  be  a  greater  in¬ 
terest  manifested  in  the  practice.  Exercise  for  the  chest  and  up¬ 
per  extremities  is  by  far  the  most  successful  of  any  for  our 
scholars,  a  large  proportion  of  whom  are  growing  up  with 
round  shoulders  and  feeble  forms.  Your  “  Expanders”  meet 
this  want  of  our  pupils  better  than  anything  heretofore  pre¬ 
sented  to  the  public.  They  can  be  used  quite  conveniently  in 
the  school  room  or  elsewhere,  while  the  grace  of  movement, 
with  an  eye  to  which  they  seem  to  have  been  designed,  must 
always  make  them  a  favorite. 

Yours  very  truly,  It.  B.  Clarke, 
Principal  of  High  School. 

New  York,  May,  1871. 

Dr.  Barnett — 

Your  Parlor  Gymnasium  and  Chest  Expander  is  in 
use  in  our  several  departments.  We  esteem  it  as  the 
most  simple  and  comprehensive  article  of  the  kind 
ever  invented,  combining  a  variety  of  exercises.  We 
consider  it  a  valuable  aid  in  physical  culture,  and  be-  | 
lieve  its  merits  will  be  fully  appreciated  wherever 
used  : 

Elizabeth  T.  Vance,  Principal  of  Primary  Depart¬ 
ment  Grammar  School  No.  57. 

.T.  S.  Warner,  Principal  Male  Department  (Tram- 
mar  School  No.  57. 

Mary  A.  Freeman,  Principal  Primary  Department 
Grammar  School  No.  39. 


20 

M.  A.  Washbuene,  Principal  Female  Department 
Grammar  School  No.  39. 

Frances  E.  A.  Gutch,  Principal  Female  Depart¬ 
ment  Grammar  School  No.  49. 

Sarah  J.  J.  McCaffery,  Principal  Primary  School 
No.  16. 

Caroline  F.  Whiting,  Principal  Female  Depart¬ 
ment  Grammar  School  No.  14. 

Sarah  F.  Buckalew,  Principal  Primary  Depart¬ 
ment  No.  49. 

Catharine  A.  Thompson,  Principal  Primary  De¬ 
partment  No.  3. 

T.  Dwight  Martin,  Principal  Male  Department 
Grammar  School  No.  32. 

M.  Louise  Clawson,  Principal  Female  Department 
Grammar  School  No.  48. 

H.  Williamson,  Principal  Male  Department  Gram¬ 
mar  School  No.  53. 

Lafayette  Olney,  Principal  Male  Department 
Grammar  School  No.  14. 

J.  T.  Boyle,  Principal  Male  Department  Grammar 
School  No.  42. 

P.  L.  Loss,  Principal  Primary  Department  Gram¬ 
mar  School  No.  42. 

Chas.  L.  Reason,  Principal  Grammar  Department 
Colored  School  No.  3. 

Alonzo  Hopper,  Principal  Male  Department  Gram¬ 
mar  School  No.  11. 

Lucretia  E.  Maguire,  Principal  Primary  Depart-  j 
ment  Grammar  School  No.  56. 

Amanda  M.  House,  Principal  Primary  School 
No.  27. 


21 

Wm.  M.  Baker,  Principal  Male  Department  Gram¬ 
mar  School  No.  55. 

Abby  N.  Beale,  Principal  Primary  Department 
Grammar  School  No.  11. 

S.  D.  Allison,  Principal  Male  Department  Gram¬ 
mar  School  No.  7. 

Hannah  M.  Gedney,  Principal  Primary  Depart¬ 
ment  Grammar  School  No.  34. 

Katherine  W.  White,  Principal  Female  Depart-  j 
ment  Grammar  School  No.  29. 

Carrie  Y.  Franklin,  Principal  Primary  Depart¬ 
ment  Grammar  School  No.  12. 

Mary  J.  O’Leary,  Principal  Female  Department 
Grammar  School  No.  1. 

Mary  J.  Gallagher,  Principal  Female  Depart¬ 
ment  Grammar  School  No.  23. 

M.  Louisa  Scott,  Principal  Senior  Department 
Grammar  School  No.  41. 

Sarah  E.  Buckbee,  Principal  Primary  Department 
Grammar  School  No.  19. 

II.  Louise  Clark,  Principal  Primary  School  No.  26. 

John  J.  Delaney,  Principal  Male  Department 
Grammar  School  No.  12. 

Melinda  N.  Clark,  Principal  Female  Department  | 
Grammar  School  No.  36. 

Henrietta  Fisk,  Principal  Primary  School  No.  39. 

Sarah  A.  Jarvis,  Principal  Primary  Department 
Grammar  School  No.  15. 

Maria  Jasper,  Principal  Primary  Department 
Grammar  School  No.  58. 

Carrie  E.  Carll,  Principal  Primary  School  No.  1. 

Clara  A.  Root,  Principal  Primary  Department 
Grammar  School  No.  7. 


22 

Sarah  A.  Bunker,  Principal  Female  Department 
Grammar  School  No.  7. 

Emily  A.  White,  Principal  Primary  Department 
Grammar  School  No.  4. 

Annie  McYey,  Principal  Primary  School  No.  3. 

Ellie  Denehey,  Principal  Primary  Department 
Grammar  School  No.  31. 

Sara  E.  Haywood,  Principal  Primary  School 
No.  36. 

Matilda  Mosher,  Principal  Female  Department 
Grammar  School  No.  2. 

Francis  Jos.  Haggerty,  Principal  Male  Depart¬ 
ment  Grammar  School  No.  2. 

S.  E.  Woodward,  Principal  Female  Department 
Grammar  School  No.  47. 

Benj.  D.  L.  Southerland,  Principal  Male  Depart¬ 
ment  Grammar  School  No.  3. 

Margaret  Donegan,  Principal  Primary  School 
No.  14. 

H.  M.  Sanborn,  Principal  Male  Department  Gram¬ 
mar  School  No.  10. 

W.  F.  Hudson,  Principal  Male  Department  Gram¬ 
mar  School  No.  18. 

C.  L.  Dugan,  Principal  Primary  Department  Gram¬ 
mar  School  No.  8. 

Chas.  W.  Lord,  Principal  Male  Department  Gram¬ 
mar  School  No.  8. 

Sarah  Smith,  Principal  Primary  School  No.  6. 

Alex.  Morehouse,  Principal  Male  Department 
Grammar  School  No.  20. 

Mary  McCloskey,  Principal  Primary  Department 
Grammar  School  No.  17. 


23 

Elizabeth  C.  Jones,  Principal  Primary  School 
No.  22. 

Caroline  Hopkins,  Principal  Female  Department 
Grammar  School  No.  42. 

H.  C.  Martin,  Principal  Male  Department  Gram¬ 
mar  School  No.  34. 

Harriet  N.  Goldey,  Principal  Female  Department 
Grammar  School  No.  34. 

— And  others. 

Mr.  Hugh  Carlisle,  Principal  of  Grammer  School 
No.  26,  in  a  letter  of  introduction,  dated  May  8,  1871, 
recommending  the  article  for  use  in  schools,  says : 

“This  is  the  apparatus  in  the  use  of  which  we  ex¬ 
hibited  a  class  at  our  recent  Reception.  It  has  lately 
been  placed  on  the  list  of  supplies  for  the  schools  of 
New  York,  and  is  already  in  use  in  a  large  number 
of  them. 

“  The  apparatus  consists  of  a  mere  band  of  india 
rubber,  fixed  in  a  couple  of  handles,  yet  it  admits  of 
as  great  a  variety  of  movements  as  a  complete  outfit 
of  dumb  bells,  Indian  clubs,  rings  and  wands.  I  think 
this  was  shown  by  exercises  perfoimed  with  it  in  our 
school  on  the  day  of  the  Reception.  Scholars  have  as 
much  right  to  physical  training  at  the  public  expense 
as  they  have  to  mental  training,  and  if  an  apparatus 
is  to  be  used,  the  versatility  and  inexpensiveness  of 
this  one,  it  seems  to  me,  point  it  out  as  the  most  avail¬ 
able.” 

From  Prof.  Steele,  Ph.  D.,  author  of  Fourteen  Weeks'  Natu¬ 
ral  Sciences ,  and  President  N.  Y.  State  Teachers'  Association. 

Lockport,  July  28,  1871. 

Dr.  Barnett  :  I  have  witnessed  with  pleasure  the 
exercises  performed  by  a  pupil  of  yours  with  the  Par- 


24 

lor  Gymiiasiuum,  on  the  occasion  of  the  State  Teach¬ 
ers’  Convention  at  Lockport,  and  am  favorably  im¬ 
pressed  to  such  an  extent  that  I  should  like  to  see 
them  in  every  school.  It  is  an  admirable  contrivance, 
and  seems  to  be  eminently  adapted  to  versatility  and 
effectiveness  of  exercise. 

J.  DORMAN  STEELE, 
Elmira  Free  Academy. 

From  the  Loclcport  Daily  Journal,  July  27,  1871. 

The  State  Teachers’  Association.  *  *  *  *  *  *  * 
The  President  announced  an  exercise  by  Master  Heinmuller, 
of  New  York,  of  Barnett’s  Parlor  Gymnastic  Chest  Expander, 
which  has  recently  been  adopted  by  the  Board  of  Education  in 
the  city  of  New  York  for  the  use  of  schools.  The  exercise 
was  very  tine,  especially  the  posturing,  and  was  received  with 
evident  satisfaction  by  the  many  teachers  present. 

From  the  Syracuse  Daily  Standard,  August  2,  1871. 

New  York  State  Teachers’  Convention. —  *  *  *  * 
*  -x-  *  *  The  evening’s  exercises  at  the  hall  commenced 
with  an  exhibition  by  Master  Heinmuller,  a  pupil  of  one  of 
the  public  schools  of  New  York,  with  a  novel  apparatus  called 
Dr.  Barnett’s  Chest  Expander.  The.  young  lad  went  through 
the  movements  finely,  and  met  with  the  plaudits  of  those  pre¬ 
sent.  *  *  *  *  *  *  *  *  *  * 


25 

SIZES. 

To  make  the  No.  1,  take  off  the  top  band  of  the  No  .  | 
2,  by  withdrawing  the  pins  from  both  handles,  one 
band  only  being  retained  in  its  place  by  replacing  the 
pins.  This  size  is  for  very  small  children  or  invalids. 

No.  2  is  for  children  of  from  6  to  12  years  of  age, 
and  is  not  very  well  adapted  to  adults. 

No.  3  is  for  youths  and  ladies. 

No.  4,  for  adults  of  ordinary  strength. 

No.  5,  for  persons  of  extra  strength.  Those  desiring 

*  to  prepare  themselves  for  the  heaviest  class  of  gym¬ 
nastics  will  find  this  size  an  effective  assistant  and  try 

i  the  strength  of  a  muscular  arm.  Its  action  can  be 
made  to  equal  fifty  pounds. 

- o - 

DIRECTIONS. 

Keep  the  heels  dose  together ,  the  toes  turned  outward, 
the  chest  thrown  forward,  and  the  mouth  slightly  open, 
that  the  lungs  may  have  full  play.  Keeping  the  heels 
together  has  reference  to  the  1st  and  2nd  series,  in 
which  the  body  is  erect. 

Always  hold  the  handles  perpendicularly ,  grasping 

#  them  firmly  below  the  band,  and  in  the  part  curved  for 
that  purpose  ;  the  thumb  shoidd  not  be  placed  on  or 
above  the  rubber  band,  but  shoidd  bend  to  form  the 
grasp,  the  end  overlapping  the  second  joint  of  the  first 
finger,  as  shown  by  the  lower  hands  of  Fig.  1. 

Always  keep  the  band  tightened  so  that  its  tension 
may  befell. 

In  no  case  is  it  necessary  to  stretch  the  band  to  its 
very  utmost  capacity,  nor  to  let  it  relax  entirely,  or 


26 

with  a  xu (Ida i  jerk.  If  more  force  is  required  shorten  \ 
the  hand ,  as  explained  on  page  69. 

The  number  of  times  for  repeating  the  movements 
in  each  exercise  will  be  determined  according  to  the 
disposition  and  strength  of  the  person  using  the  appa¬ 
ratus,  but  for  several  persons  exercising  as  a  class,  it 
will,  of  course,  be  necessary  to  observe  some  unifor¬ 
mity  of  movement.  [See  Tableaux,  page  73 ;  to 
teachers,  page  99  ;  and  class  exercise,  page  1 01.] 

There  is  no  special  time  for  using  the  apparatus, 
except  that  soon  after  eating,  no  unusual  exertion  is> 
beneficial. 

There  are  a  great  many  persons  who,  in  their  enthu- 
|  siasm  on  commencing,  imagine  that  they  must  employ 
the  greatest  amount  of  effort  and  rapidity  in  exercis- 
!  ing,  as  though  the  most  beneficial  results  would  be  in 
proportion  to  the  amount  of  force  employed.  The 
effect  of  this  error  often  produces  a  slight  feeling  of 
soreness,  causing  discouragement.  This  is  frequently 
the  case  with  persons  of  sedentary  habit  and  unaccus¬ 
tomed  to  exertion  differing  from  their  usual  avoca¬ 
tions,  and  can  almost  always  be  avoided  by  beginning 
with  moderation.  To  remove  any  such  inconvenience, 
however,  the  use  of  cold  water,  either  as  an  applica¬ 
tion  or  bath,  and  the  continuance  of  the  exercises 
more  moderately,  will  havfc  the  desired  effect,  and 
those  who  persevere  in  the  use  of  this  apparatus  with 
ordinary  judgment  and  common  sense  are  assured  that 
they  will  reap  the  benefits  of  their  efforts  in  the  attain - 
j  meat  of  the  highest  degree  of  health  and  strength  pos- 
i  sihle  to  their  constitution. 


Movements — Both  hands. — 1st,  carry  the  band  up  ! 
to  and  over  the  head,  as  in  Fig.  1,  dotted  arms  ;  2d5  j 
backward  and  down  to  the  neck,  as  in  Fig.  2,  dotted  | 
arms ;  3d,  from  the  back  of  the  neck  down,  as  in 
Fig.  2;  4th,  up  to  the  back  of  the  neck ;  5th,  over  j 
the  head,  as  in  Fig.  1,  dotted  arms  ;  6th,  carry  the 
band  forward  and  down  to  position.  Repeat. 

2nd  EXERCISE. 

ARMS  AND  CHEST. 

Position  as  in  Fig.  2,  holding  the  band  behind,  both 
arms  extended  downward. 

Movements — Left  hand  at  rest. — 1st,  raise  the  right 
hand  to  the  right  shoulder,  the  band  passing  obliquely 
across  the  back,  as  in  Fig.  3  ;  2d,  straighten  the 
right  arm  upwards,  as  in  Fig.  4  ;  3rd,  bring  the  right 
hand  down  again  to  the  right  shoulder,  as  in  Fig.  3. 
Repeat.  The  reverse  movements  are  made  in  the  same 
manner,  with  the  left  hand  up  and  the  right  hand  at 
rest. 

3rd  EXERCISE. 

ARMS  AND  SHOULDERS. 

Position. — The  right  arm  bent  over  the  head,  the 
left  arm  bent,  its  elbow  level  with  the  waist,  as  in 
Fig.  5,  dotted  arm  b,  the  band  being  held  obliquely  at 
the  left  side. 

-  Movements — Both  hands. —  1st,  carry  the  right 
hand  to  the  back  of  the  head  ;  2d,  bring  it  up  again 
over  the  head  forward,  down  to  and  in  front  of  the 
forehead ;  3d,  up  again  over  the  head,  backward  to 
the  back  of  the  head  ;  4th,  up  and  over  the  head  to 
position.  The  band  in  these  movements  will  pass  back 
and  forth  at  the  left  side.  The  left  hand  will  move  very 


29 

slowly,  while  the  right  hand  describes  a  semicircle 
from  the  forehead  over  to  the  back  of  the  head,  and 
vice  versa.  Repeat.  The  reverse  movements  are  with 
the  band  at  the  right  side,  the  left  arm  bent  over  the 
head,  and  the  right  arm  bent,  its  elbow  level  with  the 
waist. 

4th  EXERCISE. 

ARMS,  SPINE  AND  CHEST. 

Position  as  in  Fig.  6,  both  arms  extended  down¬ 
ward,  the  band  held  in  front,  and  being  horizontal. 

Movements — Left  hand  at  rest . — 1st,  carry  the 
right  hand  up  to  the  forehead,  as  in  Fig.  7 ;  2d,  over 
the  head  backward,  and  down  against  the  right  shoul¬ 
der  blade,  as  in  Fig.  3;  3d,  down  behind  to  the  level 
of  the  left  hand,  as  in  Fig.  2 ;  4th,  now  raise  the  left 
hand  up  to  the  back  of  the  head ;  5th,  carry  it  over 
the  head  forward,  and  down  to  the  forehead,  as  in  Fig. 
7  ;  and,  6tli,  down  to  position.  Repeat.  The  reverse 
movements  are  made  by  commencing  the  exercise  with 
the  left  hand. 

5th  EXERCISE. 

ARMS,  SHOULDERS,  ELBOWS  AND  CHEST. 

Position  as  in  Fig.  2,  dotted  arms ,  both  arms  bent, 
the  band  being  held  at  the  back  of  the  neck. 

Movements — Left  arm  at  rest. — 1st,  straighten  the 
right  arm  laterally  on  a  line  with  its  shoulder,  as  in 
Fig.  8 ;  2d,  back  again  to  position.  Repeat.  The 
reverse  movements  are  right  arm  at  rest,  left  arm 
moving. 

6th  EXERCISE. 

CHEST  AND  ARMS.  * 

Position  as  in  Fig.  1,  holding  the  band  horizontally 


no 

across  the  chest,  the  hands  being  at  the  shoulders. 

Movements — Both  hands. —  1st,  carry  the  band  up 
over  the  head,  as  in  Fig.  1,  dotted  arms  /  2d,  back¬ 
ward  down  to  the  back  of  the  neck,  as  in  Fig.  2, 
dotted  arms ;  3d,  up  again  over  the  head,  as  in  Fig. 
1,  dotted  arms ;  4th,  down  to  position  ;  5th,  straighten 
both  arms  out  in  front,  as  in  Fig.  9 ;  6th,  back  to  po¬ 
sition;  7th,  again  carry  the  band  up  over  the  head; 
8th,  backward  down  to  the  back  of  the  neck ;  9th,  up 
again  over  the  head;  10th,  down  to  position;  11th, 
extend  the  arms  in  front;  12th,  bring  the  band  back 
to  position.  Repeat. 

7th  EXERCISE. 

SPINE,  CHEST  AND  ARMS. 

Position  as  in  Fig.  2,  dotted  arms ,  both  arms  bent, 
the  band  held  at  the  back  of  the  neck. 

Movements — Left  arm  at  rest. — 1st,  drop  the  right 
arm,  as  in  Fig.  3 ;  2d,  carry  it  up  again  to  position. 
Repeat.  Reverse  with  right  arm  at  rest,  left  arm 
moving. 

8th  EXERCISE. 

ARMS  AND  SHOULDERS. 

Position  as  in  Fig.  12,  dotted  arms  A,  both  arms 
obliquely  downward,  the  band  being  in  front,  and 
held  horizontal. 

Movements — Left  hand  at  rest. — 1st,  carry  the 
right  hand  obliquely  up  and  across  the  chest  to  the 
left  shoulder,  as  shown  by  dotted  arm  B,  Fig.  6;  2d, 
drop  the  right  hand  down  to  position ;  3d,  now  raise 
the  left  hand  up  to  and  across  the  chest  to  the  right 
shoulder,  4th,  down  again  to  position.  Repeat,  mov¬ 
ing  each  hand  alternately. 


31 


Fig.  2. 

9th  EXERCISE. 


ARMS,  WRISTS  A ND  SHOULDERS. 

Position  as  in  Fig.  6,  both  arms  extended  down¬ 
ward,  the  band  being  in  front,  and  held  horizontal. 

Movements — Left  arm  at  rest . — 1st,  carry  the  right 
hand  obliquely  up  and  across  the  chest  to  the  left 
shoulder,  as  shown  by  Fig.  6,  dotted  arm  •  2d,  up  to 
the  forehead,  as  in  Fig.  7 ;  3d,  carry  the  right  hand 
out  in  front  from  the  forehead,  extending  the  arm  ob¬ 
liquely  upward,  as  in  Fig.  10,  dotted  arm  B  ;  4th,  bend 
the  arm,  carrying  the  right  hand  back  to  the  forehead, 
as  in  Fig.  7  ;  5th,  down  to  the  shoulder,  as  in  Fig.  6, 
dotted  arm  B ;  and,  6th,  down  to  position.  Repeat. 


32 

The  reverse  movements  are  with  right  hand  at  rest, 
left  hand  moving. 

10th  EXERCISE. 

SHOULDERS  AND  ARMS. 

Position  as  in  Fig.  9,  both  arms  being  straight  out 
in  front. 

Movements — Left  hand  at  rest. — 1st,  move  the 
right  hand  horizontally  to  the  right,  as  in  Fig.  9, 
dotted  arms  ;  2d,  back  to  position.  Repeat.  Reverse 
movements  are  right  hand  held  at  rest,  while  the  left 
hand  is  moving. 

11th  EXERCISE, 

WRISTS  AND  ARMS. 

Position  as  in  Fig.  9,  both  arms  extended  in  front, 
on  a  line  with  the  shoulders. 

Movements — Hands  Only — Left  hand  at  rest. — 
1st,  turn  the  right  hand  at  the  wrist  inward  toward 
the  chest ;  2d,  outward ;  3d,  left  hand,  same  move¬ 
ment;  repeat  with  each  hand  alternately,  and  vary 
by  turning  both  hands  at  the  same  time.* 

12th  EXERCISE. 

ARMS  AND  SHOULDERS. 

Position  as  in  Fig.  11,  the  left  arm  extended  later¬ 
ally  and  level  with  the  shoulder,  the  right  arm  bent, 
the  right  hand  against  the  chest,  the  band  being  hori¬ 
zontal. 

Movements — Left  arm  at  rest. — 1st,  carry  the 
right  hand  up  and  over  the  head  down  to  the  back  of 

*  For  this  Exercise,  I  am  indebted  to  Mr.  Chas.  F.  Olney,  Vice-Principal 
of  Grammar  School  26. 


33 

the  neck,  as  shown  by  dotted  arm  Fig.  11  ;  2d,  up 
over  the  head,  forward  and  down  again  to  position. 
Repeat.  The  reverse  movements  are  right  arm  ex¬ 
tended  and  at  rest,  while  the  left  hand  is  moving. 


13th  EXERCISE. 

ARMS  AND  SHOULDERS. 

Position  as  in  Fig.  11,  the  left  arm  extended  latter- 
ally  and  level  with  the  shoulder,  the  right  arm  bent, 
the  right  hand  against  the  chest. 

Movements — Hie  left  arm  at  rest. — 1st,  carry  the 
right  hand  to  the  right  shoulder  ;  2d,  pass  the  right 
hand  across  the  chest  to  the  left  shoulder ;  3d,  back 
again  to  the  right  shoulder.  Repeat.  Reverse  move¬ 
ments  are  right  arm  extended  and  at  rest,  while  the 
left  arm  is  moving. 


34 

14th  EXERCISE. 

SHOULDERS  AND  ARMS. 

Position  as  in  Fig.  9,  both  arms  being  extended  in 
front  and  level  with  the  shoulders. 

Movements — Left  arm  at  rest , — 1st,  bend  the  right 
arm  inward,  bringing  the  right  hand  up  against  the 
right  shoulder  ;  2d,  then  out  straight  to  position  ;  3d, 
bend  the  left  arm  inward,  bringing  the  left  hand 
against  the  left  shoulder;  4th,  straight  out  again  to 
position.  Repeat. 

15th  EXERCISE. 

ARMS,  SPINE  AND  CHEST. 

Position  as  in  Fig.  6,  both  arms  extended  downward, 
the  band  horizontal  and  in  front. 

Movements — The  left  hand  at  rest—  1st,  carry  the 
right  hand  up  over  the  head  backward  and  down  to 
the  level  of  the  left  hand,  following  the  line  of  the 
dotted  circle  in  Fig.  10;  2d,  up  again  over  the  head 
forward  and  down  to  position.  Repeat.  The  reverse 
movements  are  right  hand  at  rest,  left  hand  moving. 

16th  EXERCISE. 

ARMS  AND  ELBOWS. 

Position  as  in  Fig.  5,  the  left  arm  down,  the  right 
arm  bent  over  the  head,  the  band  at  the  left  side. 

Movements — The  left  arm  at  rest . — 1st,  straighten 
the  right  arm  upward  ;  2d,  bend  the  arm  down  to 
position.  Repeat.  The  reverse  movements  are  right 
ar rundown  and  at  rest,  the  left  arm  bent  over  head 
and  moving. 


35 

17th  EXERCISE. 

ARMS  AND  WRISTS. 

Position  as  in  Fig.  6,  both  arms  extended  down,  the 
band  in  front. 

Movements — The  left  hand  at  rest. — 1st,  move  the 
right  hand  horizontally  to  the  right ;  2d,  back  to  posi¬ 
tion.  Repeat.  The  reverse  movements  are  right 
hand  at  rest,  left  hand  moving. 


18th  EXERCISE. 

ARMS  AND  CHEST. 

Position  as  in  Fig.  2,  both  arms  down  at  full  length, 
the  band  behind. 

Movements — Left  hand  at  rest . — 1st,  move  the  right 


36 

hand  to  the  right ;  2d,  back  to  position.  Repeat.  Re¬ 
verse,  with  right  hand  at  rest,  left  hand  moving. 

19th  EXERCISE- 

ARMS  AND  ELBOWS. 

Position  as  in  Fig.  5,  the  right  arm  bent  over  the 
head,  the  left  arm  extended  full  length  down  at  the 
side. 

Movements. —  The  right  arm  at  rest, — 1st,  bend  the 
left  arm  upward,  as  shown  by  dotted  arm  B,  Fig.  5  ; 
2d,  straighten  the  left  arm  down  again  to  position. 
Repeat.  The  reverse  movements  are  with  the  left  arm 
at  rest,  the  right  arm  moving. 

20th  EXERCISE. 

ELBOWS,  WRISTS  AND  ARMS. 

Position  as  in  Fig  8,  the  left  arm  extended  laterally 
and  level  with  the  shoulder,  the  right  arm  bent,  its 
hand  level  with  the  shoulder,  the  band  at  the  back  of 
the  neck. 

Movements — The  left  arm  at  rest. — 1st,  move  the 
right  hand  to  the  back  of  the  head  as  shown  by  dot¬ 
ted  arm  B,  Fig.  8  ;  2d,  move  the  right  hand  back  to 
position.  Repeat.  The  reverse  movements  are  the 
right  arm  extended  and  at  rest,  while  the  left  arm  is 
moving. 

21st  EXERCISE. 

CHEST  AND  SHOULDERS. 

Position  as  in  Fig.  2,  both  arms  down  at  full  length, 
the  band  held  behind  and  horizontal. 

Movements — Toth  hands. — 1st,  carry  the  band  up 
over  the  head  as  in  Fig.  1,  dotted  arms ;  2d,  down 
again  to  position,  stretching  the  band  as  it  passes  the 
shoulders.  Repeat. 


37 

22d  EXERCISE. 

SHOULDERS  AND  CHEST. 

Position  as  in  Fig.  1,  holding  the  band  horizontally 
across  the  chest,  both  hands  being  against  the 
shoulders. 

Movements — J Both  hands. — 1st,  carry  the  band  up 
over  the  head  down  to  the  back  of  the  neck,  as  shown 
by  Fig.  2,  dotted  arms  ;  2d,  back  again  to  position. 
Repeat. 


23d  EXERCISE. 

ELBOWS  AND  SHOULDERS. 

Position  as  in  Fig.  6,  both  arms  down  at  full  length, 
the  band  held  in  front  and  horizontal. 


38 

Movements — Both  arms . — 1st,  raise  both  arms,  ex¬ 
tending  them  in  front  level  with  the  shoulders,  as 
shown  by  Fig.  9  ;  2d,  bend  both  arms,  bringing  the 
hands  up  to  the  shoulder,  as  shown  in  Fig.  1  ;  3d,  ex¬ 
tend  the  arms  again  out  in  front  of  the  body ;  4th, 
down  to  position.  Repeat. 

24th  EXERCISE. 

ARMS  AND  WRISTS. 

Position  as  in  Fig.  9,  both  arms  extended  in  front 
of  the  body,  and  on  a  level  with  the  shoulders. 

Movements — Both  hands . — 1st,  bend  both  hands  at 
the  wrists,  turning  the  palms  of  the  hands  downward 
facing  toward  the  chest ;  2d,  turn  both  hands  up¬ 
ward,  the  palms  turning  outward.  Repeat. 

25th  EXERCISE. 

CHEST,  SHOULDERS  AND  ARMS. 

Position  as  in  Fig.  12,  dotted  arms  B,  both  arms  ex¬ 
tended  laterally  on  a  line  with  the  shoulders,  the  band 
at  the  back  of  the  neck. 

Mo  vements — Both  arms . — 1st,  raise  the  right  arm, 
at  the  same  time  lowering  the  left  arm,  as  in  Fig.  4  ; 
id,  lower  the  right  arm,  at  the  same  time  raising  the 
left  arm.  Repeat.  These  movements  should  be  con¬ 
tinued  like  a  “  see-saw,”  following  the  part  of  the 
circle  from  B  to  A,  and  from  A  to  B,  Fig.  4. 

26th  EXERCISE. 

ELBOWS  AND  ARMS. 

Position  as  in  Fig.  13,  the  hands  at  the  waist,  the 
band  held  in  front. 

Movements — Both  hands . — 1st,  carry  the  band  up 
to  the  chest,  as  in  Fig.  1  ;  2d,  move  both  hands  down 
again  to  position.  Repeat. 


39 


Fig.  6. 


27th  EXERCISE. 

SHOULDERS,  ELBOWS  AND  ARMS. 

Position  as  in  Fig.  14,  the  left  arm  extended 
obliquely  upward,  the  right  arm  down  full  length  at 
|  the  side. 

Movements — The  left  arm  at  rest. — 1st,  bend  the 
right  arm  up  in  front,  bringing  the  right  hand  up 
against  the  right  shoulder,  as  in  Fig.  18  ;  2d, 
straighten  the  right  arm  out  in  front  on  a  level  with 
the  shoulder;  3d,  down  again  to  position.  Repeat. 
Reverse,  with  the  right  arm  at  lest,  and  left  arm 
moving. 


40 

28th  EXERCISE. 

SHOULDERS  AND  ARMS. 

Position  as  in  Fig.  10,  the  left  arm  extended 
obliquely  upward  in  front,  the  right  arm  extended 
down  at  the  side. 

Movements — The  left  arm  at  rest . — 1st,  carry  the 
right  arm  from  its  side,  the  right  hand,  following 
the  dotted  circle  up  to  C,  as  shown  in  Fig.  10,  the 
arm,  in  describing  this  half  circle,  being  kept  perfectly 
straight ;  2d,  bring  the  arm  down  again  to  position, 
following  the  same  line  in  descending.  Repeat.  Re¬ 
verse,  with  the  right  arm  at  rest  and  left  arm  moving. 

29th  EXERCISE. 

SHOULDERS  AND  ARMS. 

Position  as  in  Fig.  6,  botli  arms  down  at  full 
length,  the  band  being  in  front. 

Movements — The  left  emit  at  rest. — 1st,  extend  and 
raise  the  right  arm  laterally,  the  right  hand  following 
the  dotted  lines  up  to  A  in  Fig.  14;  2d,  carry  the 
right  hand  down  again,  following  the  same  lines  to 
position,  the  arm  being  straight  in  these  movements. 
Repeat. 

30th  EXERCISE. 

CHEST,  AND  SHOULDERS. 

Position  as  in  Fig.  13,  both  hands  at  the  waist, 
holding  the  band  in  front. 

Movements — Both  hands. — 1st,  carry  the  band  up 
to  and  over  the  head,  to  the  back  of  the  neck,  as  in 
Fig.  2,  dotted  arms  ;  2d,  up  over  the  head  forward 
and  down  again  to  position. 


31st  EXERCISE. 

ARMS,  SHOULDERS  AND  ELBOWS. 

Position  ns  in  Fig.  13,  both  arms  bent,  the  band 
held  at  the  waist. 

Movements — Left  hand  at  rest. — 1st,  move  the 
right  hand  to  the  right,  as  shown  by  dotted  lines  A ; 
2d,  back  again  to  position.  Repeat.  Reverse,  with 
right  hand  at  rest,  left  hand  moving. 


32d  EXERCISE. 

ARMS  AND  SHOULDERS. 

Position  as  in  Fig.  15,  the  left  arm  extended  ob¬ 
liquely  downward  in  front,  the  right  arm  bent,  the 
right  hand  over  the  back  of  the  head,  the  left  handle 


42 

held  perpendicularly,  the  right  handle  held  horizon¬ 
tally. 

Movements — Left  arm  at  rest . — 1st,  carry  the  right 
hand  from  the  line  of  the  hack  of  the  head  from  B, 
following  the  dotted  line  forward  to  C  ;  2d,  move  the 
right  hand  backward  to  position.  Repeat.  Reverse, 
with  right  arm  extended  and  at  rest,  the  left  hand 
moving. 

33d  EXERCISE. 

CHEST,  SHOULDERS  AND  ARMS. 

Position  as  in  Fig.  2,  both  arms  down  at  full  length, 
the  band  held  behind. 

Movements — Left  arm  at  rest. — 1st,  raise  the  right 
arm  to  a  level  with  its  shoulder  and  extend  it  lat¬ 
erally,  level  with  the  shoulder,  as  shown  by  dotted 
arms  of  Fig.  3 ;  2d,  carry  it  down  again  to  position. 
Repeat.  Reverse,  with  the  right  arm  at  rest  and  left 
arm  moving. 

34th  EXERCISE. 

ARMS  AND  ELBOWS. 

Position  as  in  Fig.  1 ,  dotted  arms ,  both  arms  bent, 
the  elbows  on  a  line  with  the  shoulders,  the  band  over 
I  head. 

Movements — Left  arm  at  rest. — 1st,  straighten  the 
right  arm  out  sideways  on  a  level  with  its  shoulder, 
as  in  Fig.  8,  dotted  lines  A  ;  2d,  bend  the  right  arm  up 
again  to  position.  Repeat.  Reverse,  with  right  arm 
at  rest  and  left  arm  moving. 

35th  EXERCISE. 

ARMS  and  shoulders. 

Position  as  in  Fig.  16,  both  arms  extended  obliquely  j 
;  upward. 


43 

Movements — Left  hand  at  rest. — 1st,  move  the  right 
hand  to  the  right ;  2d,  move  the  right  hand  back 
again  to  position.  Repeat.  Reverse,  with  right  hand 
at  rest,  left  hand  moving. 

36th  EXERCISE. 

SHOULDERS  AND  CHEST. 

Position  as  in  Fig.  16,  both  arms  extended  ob¬ 
liquely  upward. 

Movements — Both  hands. — 1st,  carry  the  band 
overhead  to  the  back  of  the  neck,  as  in  Fig.  2,  dotted 
arms  ;  2d,  back  over  the  head  forward  to  position. 
Repeat. 


44 

37th  EXERCISE. 

ARMS,  WRISTS  AND  SHOULDERS. 

Position  as  in  Fig.  16. 

Movements — Left  hand  at  rest . — 1st,  turn  the  right 
hand  to  the  right,  so  that  the  palm  faces  upward,  the 
right  handle  will  in  this  movement  be  brought  al¬ 
most  horizontal  and  pointing  to  the  right,  and  the 
end  of  the  band  will  pass  across  the  right  thumb,  as 
shown  in  Fig.  20,  hands  B ;  2d,  back  to  position, 
as  shown  by  dotted  hands.  Repeat.  Reverse,  with 
right  hand  at  rest,  left  hand  turning. 

38th  EXERCISE. 

ARMS,  WRISTS  AND  SHOULDERS. 

Position  as  in  Fig.  16. 

Movements. — The  same  movements  as  in  the  37th 
Exercise,  excepting  that  in  this  exercise  both  hands 
move  at  the  same  time,  the  .left  hand  turning  to  the 
left,  the  handle  pointing  to  the  left,  and  the  right 
hand  to  the  right,  as  in  Fig.  20.  Repeat. 

39th  EXERCISE. 

SHOULDERS  AND  ARMS. 

Position  as  in  Fig.  16,  both  arms  obliquely  upward, 
position  of  hands  as  in  Fig.  20,  hands  B. 

Movements. — 1st,  move  the  right  hand  to  the 
right ;  2d,  back  to  position.  Repeat.  Reverse,  with 
right  hand  at  rest,  and  left  hand  moving. 

40th  EXERCISE. 

CHEST,  SHOULDERS  AND  ARMS. 

Position  as  in  Fig.  14,  the  left  arm  extended  ob- 


45 

liquely  upward  at  the  side,  the  right  arm  down  full 
length. 

Movements-  -  The  left  arm  at  rest. — 1st,  carry  the 
right  arm  from  its  side  straight  out  in  front,  straight 
upward,  backward  and  down,  the  right  hand  describ¬ 
ing  the  complete  circle  at  the  side,  as  shown  by  the 
dotted  circle  in  Fig.  10  ;  the  band  will  be  thus  brought 
behind  and  obliquely  across  the  back  ;  2d,  carry  the 
arm  upward,  forward,  and  down  to  position,  following 
the  same  circle  forward,  and  keeping  the  arm  always 
extended.  Repeat.  Reverse,  with  the  right  arm  ex¬ 
tended  and  at  rest,  the  left  arm  moving. 


41st  EXERCISE. 

CHEST,  SHOULDERS  AND  WRISTS. 

Position  as  in  Fig.  2,  both  arms  down  at  full  length, 


46 

|  the  band  behind ;  the  handles  should  in  this  exercise 
be  held  obliquely,  as  in  Fig.  6  f  this  will  bring  each 
end  of  the  band  across  the  knuckle  joints  of  the  first 
fingers. 

Movements — Left  hand  at  rest . — 1st,  move  the 
right  hand  horizontally  to  the  right ;  2d,  bring  the 
hand  back  again  to  position.  Repeat.  Reverse,  with 
right  hand  at  rest,  left  hand  moving. 

42  d  EXERCISE. 

CHEST  AND  ARMS. 

Position  as  in  Fig.  17,  the  band  passing  across  the 
back  just  below  the  shoulders,  the  left  arm  extended 
in  front,  the  right  arm  bent,  the  right  hand  up  to  the 
shoulder. 

Mo  vements — Right  arm  at  rest. — 1st,  bend  the  left 
arm,  bringing  the  left  hand  up  to  the  left  shoulder ; 
2d,  extend  the  arm  out  again  to  position.  Repeat. 
Reverse,  left  arm  at  rest,  right  arm  moving. 

43d  EXERCISE. 

ARMS  AND  SHOULDERS. 

Position  the  same  as  in  Fig.  17,  excepting  that,  in- 
|  stead  of  the  left  arm  being  in  front  of  the  body,  it  is 
!  extended  laterally. 

Movements — Right  arm  at  rest. — 1st,  bend  the  left 
arm,  bringing  the  left  hand  up  to  the  left  shoulder; 
2d,  out  again  to  position.  Repeat.  Reverse  with 
left  arm  at  rest,  right  arm  moving. 

44th  EXERCISE. 

CHEST,  SPINE  AND  ARMS. 

Position  as  in  Fig.  2,  dotted,  arm  's,  both  arms  bent, 


47 

elbows  level  with  the  waist,  the  band  at  the  back  of 
the  neck. 

Movements — Each  arm  alternating. — 1st,  lo  wer  the 
right  arm,  extending  it  obliquely  downward,  as  shown 
by  the  lower  arm  of  Fig.  4 ;  2d,  carry  it  up  again  to 
position;  3d,  drop  the  left  arm  in  same  manner;  4th, 
carry  it  up  again  to  position.  Repeat. 


Fig.  10. 

45th  EXERCISE. 

ARMS  AND  ELBOWS. 

Position  as  in  Fig.  12,  dotted  arms  A,  both  arms 


I  48 

!  extended  obliquely  at  the  sides,  the  band  being  in 
I  front. 

Movements — -The  left  arm  at  rest. — 1st,  bend  the 
I  right  arm  upward,  carrying  the  right  hand  close  up 
to  the  shoulder;  2d,  down  again  to  position.  Re¬ 
peat.  Reverse,  with  the  right  arm  at  rest,  the  left 
!  arm  moving. 

46th  EXERCISE. 

ARMS  AND  SHOULDERS. 

Position  as  in  Fig.  15,  the  right  arm  bent,  the  right 
!  hand  over  the  head,  lidding  the  handle  horizontal,  the 
left  arm  extended  in  front  of  the  body,  level  with  the 
shoulder,  as  in  Fig.  15,  dotted  arm  A. 

Movements — Both  hands  moving  at  same  time. — 
1st,  the  left  hand  moving  downward,  while  the  right 
!  moves  upward  ;  2d,  both  hands  back  to  position.  Re- 
|  peat. 

47th  EXERCISE. 

WRISTS  AND  SHOULDERS.  * 

Position  as  in  Fig.  15,  the  right  arm  bent,  the  right 
hand  over  the  head,  holding  the  handle  horizontal,  the 
left  arm  extended  in  front  of  the  body,  on  a  level  with 
the  shoulder,  as  in  Fig.  15,  dotted  arm  A. 

Movements — The  left  arm  at  rest. — 1st,  turn  the 
l  ight  hand,  so  that  the  right  handle  is  brought  from 
the  horizontal  to  the  perpendicular;  2d,  back  to  posi¬ 
tion.  Repeat.  Reverse,  with  the  left  hand  over  head, 
the  right  arm  extended,  and  at  rest. 

48th  EXERCISE. 

ARMS  AND  SHOULDERS. 

Position  as  in  Fig.  15,  the  left  arm  bent,  the  left 


hand  over  head,  holding  the  handle  perpendicularly , 
the  right  arm  extended  in  front  of  the  body,  level 
with  the  shoulder,  as  in  dotted  arm  A,  Fig.  15. 

Movements — The  left  arm  at  rest. — 1st,  lower  the 
right  arm  to  a  level  with  the  waist,  keeping  it  ex¬ 
tended  ;  2d,  raise  the  right  arm  so  that  the  right 
hand  is  brought  level  with  the  forehead.  Repeat. 
Reverse  with  right  arm  at  rest,  left  arm  extended 
and  moving. 


49th  EXERCISE. 

SHOULDERS,  ELBOWS  AND  ARMS. 

Position  as  in  Fig.  15,  the  left  arm  bent,  the  left 
hand  over  head  holding  the  handle  horizontal ,  the 


-  50 

right  arm  extended  level  with  its  shoulder,  as  in 
dotted  arm  A,  Fig.  15. 

Movements — The  right  arm  at  rest. — 1st,  pass  the 
left  hand  over  the  head  laterally  to  a  line  with  the 
right  ear;  2d,  over  the  head  laterally,  and  down 
to  the  left  shoulder;  the  hand  in  this  exercise  will  pass 
in  the  direction  from  shoulder  to  shoulder.  Repeat. 
Reverse,  with  the  right  arm  bent  over  head,  and  left 
hand  moving. 

50th  EXERCISE. 

ARMS  AND  SHOULDERS. 

Position  as  in  Fig.  6,  both  arms  down  at  the  sides, 
the  band  being  in  front. 

Movements — The  left  arm  at  rest . — 1st,  raise  the 
right  arm  extended,  up  to  a  level  with  the  shoulder ; 
2d,  bend  the  right  arm,  bringing  the  right  hand  up 
against  the  right  shoulder;  3d,  straighten  the  arm 
again ;  4th,  lower  it  again  to  position.  Repeat.  Re¬ 
verse,  with  right  arm  at  rest,  left  arm  moving. 

51st  EXERCISE. 

SUO V  LOURS  AN] >  ARMS. 

Position  as  in  Fig.  14,  the  left  arm  extended  ob¬ 
liquely  upward,  the  right  arm  down  at  the  side. 

Movements — Both  hands. — 1st,  raise  the  right  hand 
and  lower  the  left,  following  the  dotted  circle  from  A 
to  B  and  from  B  to  A,  Fig.  14 ;  2d,  raise  the  left  and 
lower  the  right.  Repeat  in  continuous  movement. 

52d  EXERCISE. 

ARMS  AND  SHOULDERS. 

Position  as  in  Fig.  18,  the  left  arm  extended  later- 


51 

ally,  the  right  arm  bent,  the  right  hand  against  its 
shoulder. 

Movements — Left  arm  at  rest — 1st,  carry  the.  right 
hand  obliquely  down  across  the  chest  to  the  waist,  on 
a  line  with  the  left  shoulder,  as  in  dotted  arm  and 
band  B,  Fig.  18;  2d,  carry  the  right  hand  up  ob¬ 
liquely  across  the  chest  to  position.  Repeat.  Re¬ 
verse,  with  the  right  arm  extended  and  at  rest,  left 
arm  moving. 


Fig.  12. 

53d  EXERCISE. 


SHOULDERS  AND  ARMS. 

Position  as  in  Fig.  5,  the  left  arm  extended  down 
at  the  side,  the  right  arm  bent  over  the  head. 


52 

Movements — The  left  arm  at  rest. — 1st,  carry  the 
right  hand  forward,  and  down  to  the  left  shoulder; 
2d,  carry  it  up  again  to  position.  Repeat.  Reverse, 
with  left  arm  up,  right  arm  down  and  at  rest. 

54th  EXERCISE. 

ARMS  AND  SHOULDERS. 

Position  as  in  Fig.  16,  dotted  arms  B,  both  arms  ex¬ 
tended  upward. 

Movements — The  left  arm  at  rest. — 1st,  carry  the 
right  arm  extended  down  to  a  level  with  its  shoulder ; 
2d,  bend  the  arm,  carrying  the  right  hand  across  the 
chest  to  the  waist  at  the  left  side,  as  shown  by  dotted 
arm  and  hand  0 ,  Fig.  16  ;  3d,  carry  the  right  hand  up 
and  across  the  chest,  extending  the  arm  as  before ; 
4th,  raise  the  arm  to  position.  Repeat.  Reverse  with 
right  arm  at  rest,  the  left  arm  moving. 

55th  EXERCISE. 

ARMS,  ELBOWS  AND  SHOULDERS. 

Position  as  in  Fig.  6,  both  arms  extended  down  the 
band  in  front.  ^ 

Movements — Both  hands. — 1st,  each  hand  mov¬ 
ing  laterally  in  opposite  directions ;  2d,  back  to  posi¬ 
tion.  Repeat. 

56th  EXERCISE. 

CHEST  AND  ARMS. 

Position  as  in  Fig.  2,  both  arms  extended  down,  the 
band  behind. 

Movements — Both  hands  alternating. — 1st,  raise 
the  right  hand,  carrying  it  up  against  the  right  shoul¬ 
der  blade  ;  2d,  down  again  to  position  ;  3d,  raise  the 


53 

left  hand  up  to  the  left  shoulder  blade  ;  4th,  down  to 
position.  Repeat. 

57th  EXERCISE. 

ARMS  AND  SHOULDERS.  j 

Position  as  in  Fig.  9,  both  arms  extended  in  Iront  | 
I  on  a  level  with  the  shoulders. 

|  Movements — Both  hands. — 1st,  both  hands  moving 

I  laterally  in  opposite  directions,  as  shown  by  dotted: 
arms  ;  2d,  back  to  position.  Repeat. 

58th  EXERCISE. 

ARMS  AND  SHOULDERS. 

Position  as  in  Fig.  9,  both  arms  straight  out  in 
front  and  level  with  the  shoulders. 

Movements — Both  hands  alternating. — 1st,  move 
j  the  right  hand  to  the  right ;  2d,  back  to  position  ;  3d, 
move  the  left  hand  to  the  left;  4th,  back  to  position. 

S  Repeat. 

59th  EXERCISE. 

CHEST,  ARMS  AND  SHOULDERS. 

Position  as  in  Fig.  12,  dotted  arms  B,  both  arms  ex¬ 
tended  laterally  level  with  the, shoulders. 

Movements — Both  arms. — 1st,  raise  both  arms  as 
shown  in  dotted  arms  C,  Fig.  1  2  ;  2d,  lower  both  arms 
j  to  position.  Repeat. 

I 

60th  EXERCISE. 

ARMS,  SHOULDERS  AND  SPINE. 

Position  as  in  Fig.  1,  dotted  arms ,  both  arms  bent,  the 
elbows  on  a  line  with  the  shoulders. 

Movements — Both  arms  alternating. — 1st,  lower 


54 

the  right  arm,  bringing  the  elbow  on  a  line  with  and 
against  the  waist,  as  in  dotted  arm  B,  Fig.  5  ;  2d,  raise 
the  right  arm  and  lower  the  left,  bringing  the  elbow 
on  a  line  with  the  waist.  In  these  movements  both 
hands  describe  the  half  circle  as  shown  from  dotted 
arm  B  to  dotted  arm  A,  and  vice-versa. 


CHEST  AND  ARMS. 

Position  as  in  Fig.  2,  dotted  arms ,  both  arms  bent, 
the  band  at  the  back  of  the  neck. 

Movements — Both  hands . — 1st,  move  both  hands 
to  the  right ;  2d,  move  both  hands  to  the  left;  3d, 
back  to  position.  Repeat. 


55 

62d  EXERCISE. 

ARMS. 

Position  as  in  Fig.  1,  both  arms  bent,  the  hands 
close  up  to  the  shoulders,  holding  the  band  horizontal¬ 
ly  across  the  chest. 

Movements — Left  hand  at  rest — 1st,  move  the 
right  hand  laterally  away  from  the  left  hand  to  the 
outside  line  of  the  dotted  elbow;  2d,  back  to  position, 
j  Repeat.  Reverse,  with  right  hand  at  rest,  and  left 
hand  moving. 

63d  EXERCISE. 

ARMS  AND  CHEST. 

Position  as  in  Fig.  1,  both  arms  bent,  the  hands 
close  to  the  shoulders,  holding  the  band  across  the 
chest. 

1  Movements — Both  hands . — 1st,  move  both  hands 

in  opposite  directions,  extending  both  arms  laterally ; 
2d,  bend  both  arms  back  to  position. 

64th  EXERCISE. 

ARMS  AND  SHOULDERS. 

Position  as  in  Fig  1 9,  the  left  arm  at  the  left  side, 
the  right  arm  bent,  the  right  hand  against  the  chest, 
the  band  held  obliquely. 

Movements — The  left  hand  at  rest . — 1st,  carry  the 
right  hand  up  above  the  head,  keeping  the  arm  bent  as 
in  dotted  arm,  Fig.  19;  2d,  down  again  to  position. 
Repeat. 

65th  EXERCISE. 

ARMS  AND  CHEST. 

Position  as  in  Fig.  2,  both  arms  down  at  full  length, 
holding  the  band  behind. 


]  56 

Movements — Both  arms  alternately. — 1st,  raise  the 
right  hand  to  the  right  shoulder,  as  in  Fig.  3  ;  2d, 
straighten  the  right  arm  upward,  as  in  Fig.  4  ;  3d,, 
bring  the  right  hand  down  again  to  the  shoulder;  4th, 
down  to  position  ;  5th,  raise  the  left  hand  to  the  left 
shoulder,  6th,  straighten  the  left  arm  upward ;  7th, 
down  to  the  shoulder;  8th,  down  to  position.  Repeat. 

66th  EXERCISE. 

SPINE,  ARMS,  SHOULDERS  AND  CHEST. 

Position  as  in  Fig.  6,  both  arms  down  at  full  length, 
the  band  in  front. 

Movements — Both  arms  alternating . — 1st,  carry  the 
right  hand  up  over  the  head,  backward,  and  down  to 
the  level  of  the  left  hand,  as  in  Fig.  2 ;  2d,  raise  the 
left  hand,  carry  it  over  the  head,  forward,  and  down 
to  position,  each  hand  moving  in  quick  succession. 
Repeat. 

67th  EXERCISE. 

ARMS,  ELBOWS,  AND  CHEST. 

Position  as  in  Fig.  2,  dotted  arms ,  both  arms  bent, 
the  band  across  the  back  of  the  neck. 

Movements — The  left  arm  at  rest. — 1st,  extend  the 
right  arm  laterally  on  a  level  with  its  shoulder ;  2d, 
back  to  position ;  3d,  extend  the  left  arm  laterally 
on  a  level  with  its  shoulder ;  4th,  back  to  position. 
Repeat. 

68th  EXERCISE. 

SPINE,  CHEST  AND  ARMS. 

Position  as  in  Fig.  2,  dotted  arms ,  both  arms  bent, 
the  band  across  the  back  of  the  neck. 

Movements — Both  arms  alternating. — 1st,  drop  the 
rigid  arm  as  in  Fig.  3;  2d,  bring  it  up  again  to  posi- 


58 

70th  EXERCISE. 

ARMS  AND  SHOULDERS. 

Position  as  in  Fig.  12,  dotted  arms  A,  both  arms 
extended  obliquely  down,  the  band  in  front. 

Movements — The  left  hand  at  rest. — 1st,  carry  the 
right  hand  up  to  and  against  the  right  shoulder ;  2d, 
carry  it  upward,  bending  the  arm  as  shown  in  Fig.  19, 
dotted  arm  ;  3d,  straighten  the  arm  obliquely  upward, 
as  in  Fig.  4;  4th,  bend  the  arm  as  in  Fig.  19,  dotted 
arm  /  5th,  bring  the  right  hand  again  down  to  the 
shoulder ;  6th,  down  to  position.  Repeat. 

71st  EXERCISE. 

ARMS. 

Position  as  in  Fig.  9,  both  arms  extended  in  front, 
level  with  the  shoulders. 

Movements — Toth  hands . — 1st,  bring  both  hands 
toward  the  chest,  stretching  the  band  until  the  arms 
extend  almost  laterally ;  2d,  relaxing  the  band  back 
to  position.  Repeat. 

72d  EXERCISE. 

SHOULDERS  AND  ARMS. 

Position  as  in  Fig.  12,  both  arms  down  obliquely, 

!  the  band  in  front. 

Movements — Both  hands  alternating . — 1st,  raise 
the  right  hand  to  the  forehead,  as  in  Fig.  7  ;  2d,  down 
again  to  position ;  3d,  raise  the  left  hand  to  the  fore¬ 
head  ;  4th,  down  again  to  position.  Repeat. 

73d  EXERCISE. 

SPINE,  CHEST  AND  ARMS. 

Position  as  in  Fig.  2,  both  arms  down  at  full  length, 
the  band  behind. 

Movements — Left  hand  at  rest. — 1st,  raise  the  right 


59 

hand,  carrying  it  over  the  head,  as  in  Fig.  5 ;  2d 
down  again  to  position.  Repeat.  Reverse,  with  the 
right  hand  at  rest,  left  hand  moving. 


Fig-  15. 

74th  EXERCISE. 

ARMS  AND  ELBOWS. 


Position  as  in  Fig.  6,  both  arms  down  at  full  length, 
the  band  being  in  front. 

Movements— Left  hand  at  rest. — 1st,  carry  the 
right  hand  obliquely  across  the  chest  to  the  left 
shoulder,  as  in  dotted  arm ,  Fig.  6 ;  extend  the  arm  in 
front  on  a  line  with  the  shoulder,  as  in  Fig.  10;  3d, 
back  U )  the  shoulder ;  4th,  down  to  position.  Repeat. 


60 

75th  EXERCISE. 

ARMS  AND  ELBOWS. 

Position  as  in  Fig.  1 ;  both  hands  close  to  the  shoul¬ 
ders,  the  band  across  the  chest. 

Movements — Both  hands. — 1st,  carry  the  band  up 
over  the  head,  as  in  Fig.  1,  dotted  arms  ;  2d,  down  to 
position;  3d,  extend  both  arms  in  front,  as  in  Fig.  9; 
4th,  back  to  position.  Repeat. 

76th  EXERCISE. 

ARMS. 

Position  as  in  Fig.  13,  both  arms  at  the  side,  the 
band  at  the  waist  and  in  front. 

Movements — Both  hands. — 1st.,  carry  the  band  up 
from  the  waist  to  the  forehead,  stretching  the  band  in 
the  movement  so  that  it  is  at  the  greatest  tension 
when  passing  the  chest,  each  hand  describing  a  semi¬ 
circle  at  the  side  from  the  waist  to  the  forehead ;  2d, 
down  again  to  position,  with  the  same  movements. 
Repeat. 

77th  EXERCISE. 

SPINE,  CHEST,  SHOULDERS  AND  ARMS. 

Position  as  in  Fig.  2,  both  arms  down  at  full  length, 
the  band  behind. 

Movements — Both  hands. —  1st,  carry  the  band  up 
over  the  head  forward  and  down  to  the  waist,  stretch¬ 
ing  the  band  in  its  upward  movement,  and  relaxing 
as  it  goes  down  to  the  waist ;  2d,  up  over  the  head 
backward  and  down  to  position. 

78th  EXERCISE. 

SHOULDERS. 

Position  as  in  Fig.  16,  both  arms  obliquely  upward 
in  front. 


Movements — The  left  arm  at  rest. — 1st,  move  the 
right  arm  backward  until  it  reaches  the  perpendicular 
as  shown  by  dotted  arm  B,  Fig.  16  ;  2d,  forward  and 
down  to  position.  Repeat. 


8 


ARMS  AND  SHOULDERS. 

Position — Both  arms  bent,  the  band  held  horizontal¬ 
ly  in  front,  and  level  with  the  forehead. 

Movements — Both  hands  alternating . — 1st,  move 
the  right  hand  to  the  right ;  2d,  back  to  position ;  3d, 
move  the  left  hand  to  the  left;  4th,  back  to  position. 
Repeat. 


62 

80th  EXERCISE. 

ARMS  AND  SHOULDERS. 

Position  as  in  79th  exercise. 

Movements — Both  hands . — 1st,  move  both  hands 
laterally,  in  opposite  direction  ;  2d,  back  to  position. 
Repeat. 

81st  EXERCISE. 

SHOULDERS  AND  ARMS. 

Position  as  in  Fig.  16,  dotted  arms  B,  both  arms  ex¬ 
tended  upward. 

Movements — Both  arms  alternating. — 1st,  carry 
the  right  arm  extended  in  front  down  to  a  level  with 
the  shoulder  ;  2d,  bend  the  arm  carrying  the  right 
hand  across  the  chest  to  the  waist  at  the  left  side,  as 
shown  by  dotted  arm  C,  Fig.  16  ;  3d,  carry  the  right 
hand  up  and  across  the  chest,  extending  the  arm  on  a 
j  level  with  the  shoulder ;  4th,  up  to  position ;  5th, 
lower  the  left  arm,  extended,  down  to  a  level  with  the 
shoulder ;  6th,  bending  the  arm,  carry  the  left  hand 
across  the  chest  to  the  waist  at  the  right  side  ;  7th, 
|  raise  the  left  hand  across  the  chest,  extending  the  arm 
i  level  with  the  shoulder ;  8th,  up  to  position.  Repeat. 

82d  EXERCISE. 

{  SPINE,  ARMS,  AND  CHEST. 

Position  as  in  Fig.  2,  both  arms  down  at  full  lengthy 
the  band  behind. 

Movements — Both  hands  alternating . — 1st,  raise 
|  the  right  hand,  carrying  it  over  the  head  as  in  Fig.  5  ; 
2d,  down  again  to  position  ;  3d,  raise  the  left  hand, 
carrying  it  over  the  head  ;  4th,  down  again  to  position, 
Repeat. 


03 

83d  EXERCISE. 

ARMS,  SHOULDERS  AND  ELBOWS. 

Position  as  in  Fig.  12,  dotted  arms  A,  both  arms 
obliquely  down  at  the  sides ;  the  band  in  front. 

Movements — Both  hands  alternately . — 1st,  carry 
the  right  hand  obliquely  across  the  chest  to  the  lelt 
shoulder,  as  in  Fig.  6,  dotted  arm ;  2d,  extend  the  arm 
in  front  on  a  line  with  the  shoulder,  as  in  Fig.  10 ;  3d, 
back  to  the  shoulder;  4th,  down  to  position ;  5th,  carry 
the  left  hand  across  the  chest  to  the  right  shoulder,  as 
in  Fig.  6,  dotted  arm  •  6th,  extend  the  arm  ;  7th,  back 
to  the  shoulder;  8th,  down  to  position.  Repeat. 

84th  EXERCISE. 

SHOULDERS,  SPINE,  ARMS  AND  CHEST. 

Position  as  in  Fig.  5,  the  right  arm  raised,  the  left 
arm  lowered. 

Movements — Both  arms. — 1st,  carry  the  right  hand 
over  the  head,  with  the  right  arm  bent,  and  the  left 
arm  extended  down ;  bringing  the  right  hand  for¬ 
ward  over  the  head  and  down  as  in  Fig.  12,  dotted 
arms  A,  raising  the  left  hand,  carry  it  across  the 
chest,  over  the  head  and  down  behind,  as  in  Fig.  2. 
Repeat,  each  hand  following  the  other  in  continuous 
movement. 

85th  EXERCISE. 

SHOULDERS. 

Position  as  in  Fig.  16,  both  arms  obliquely  upward. 

Movements — Both  arms  alternating . — 1st,  move  the 
right  arm  backward  till  it  reaches  the  perpendicular, 
as  shown  by  dotted  arms  B,  Fig.  16;  2d,  forward  to 
position  ;  3d,  move  the  left  arm  backward  till  it 


64 

reaches  the  perpendicular ;  4th,  forward  to  position. 
Repeat. 


86th  EXERCISE. 

SHOULDERS,  CHEST  AS ID  ARMS. 

Positionas  in  Fig.  12,  dotted  arms  C,  both  arms 
raised  full  length. 

Movements — Both  hands . — 1st,  carry  the  band 
down  to  the  shoulders  as  in  Fig.  2,  dotted  arms ;  2d, 
extend  the  arms  full  length  downward  as  in  Fig.  2  ; 
3d,  up  to  the  shoulders  as  in  dotted  arms  Fig.  2  ;  4th, 
up  to  position.  Repeat. 

87th  EXERCISE. 

ARMS  AND  ELBOWS. 

Position  as  in  Fig.  11,  the  left  arm  extended  lat- 


65 

erally,  the  right  arm  bent,  with  hand  up  against  the 
shoulder. 

Movements — Right  arm  at  rest . — 1st,  bend  the  left 
|  arm,  bringing  the  left  hand  level  with  the  shoulder; 
2d,  out  again  to  position.  Repeat,  and  reverse  with 
left  arm  at  rest,  right  arm  moving. 


ARMS.  ELBOWS  AND  WRISTS. 

Position  as  in  Fig.  13,  dotted  handles  B,  the  band 
at  the  waist,  the  handles  pointing  obliquely  upward. 

Movements — Both  hands. — 1st,  move  the  right 
hand  to  the  right,  and  the  left  hand  to  the  left ;  2d, 
back  to  position.  Repeat. 


66 


89th  EXERCISE. 

ARMS. 

Position  as  in  Fig.  18,  dotted  hands  A,  the  left 
arm  extended  obliquely  upward  at  the  side,  the  right 
arm  bent,  the  right  hand  at  the  waist. 

Movements — Right  arm  at  rest.— 1st  bend  the  left 
arm  to  a  level  with  the  forehead  ;  2d,  out  again  to 
position.  Repeat.  Reverse,  with  left  arm  at  rest, 

|  right  arm  moving. 

90th  EXERCISE. 

ARMS  AND  SHOULDERS. 

Position  as  in  Fig.  12,  dotted  lines  A  A,  both  arms 
down  obliquely  at  the  sides,  the  band  in  front. 

Movements — Both  hands  alternating. — 1st,  raise  the 
right  hand  to  the  right  shoulder ;  2d,  extend  the  arm 
upward  obliquely,  following  the  dotted  right  arm  C, 
Fig.  12;  3d,  lower  the  hand  to  the  shoulder;  4th, 
down  to  position;  5th,  raise  the  left  hand  to  the 
shoulder,  reversing  the  band ;  6th,  extend  the  arm 
obliquely  upward,  following  the  dotted,  left  arm  C, 
Fig.  12;  7th,  down  to  the  shoulder;  8th,  down  to 
position.  Repeat. 

91st  EXERCISE. 

CHEST,  SHOULDERS  AND  ARMS. 

Position  as  in  Fig.  12,  dotted  arms  C,  both  arms 
extended  upward. 

Movements. — 1st,  carry  the  band  down  to  the 
chest ;  2d,  up  to  position.  Repeat. 

92d  EXERCISE. 

SHOULDERS,  ELBOWS  AND  ARMS. 

Position. — The  right  arm  bent,  the  right  hand  at 


the  back  of  the  head,  the  left  arm  down  at  the  left  j 
side. 

Movements — The  left  arm  at  rent. — 1st,  extend  the 
right  arm  upward ;  2d,  down  to  position.  Repeat. 
Reverse,  with  right  arm  down,  left  arm  moving. 


Fig.  19. 


93d  EXERCISE 

SHOULDERS  AND  ARMS. 

Position  as  in  Fig.  16,  both  arms  extended  obliquely 
upward  in  front. 

Movements — Both  arms. — 1st,  bend  both  arms, 
bringing  the  band  down  in  front  of  the  forehead) 
stretching  the  band  as  it  reaches  the  forehead;  2d, 


<38 

|  back  to  position,  relaxing  the  band  in  the  upward 
|  movement.  Repeat. 


SHOULDERS,  SPINE  AND  ARMS. 

Position  as  in  Fig.  4,  the  right  arm  raised,  the 
left  arm  lowered,  the  band  passing  obliquely  across 
|  the  back. 

Movements — Both  arms. — 1st,  swing  the  left  arm 
backward  while  the  right  arm  is  brought  in  front, 
pointing  obliquely  upward  ;  2d,  lower,  the  right  hand 
|  in  front  to  a  level  with  the  waist,  at  the  same  time 
raising  the  left  arm  bent,  bringing  the  left  hand 
above  the  head,  the  body  inclining  slightly  forward ; 
3d,  lower  the  left  hand  and  raise  the  right,  the  body 
inclining  very  slightly  backward  ;  4th,  swing  the  arms 
back  to  position.  Reverse,  with  right  arm  lowered 
and  left  arm  raised. 

95th  EXERCISE/ 

CHEST,  SPINE  AND  ARMS. 

Position  as  in  Fig.  4,  the  right  arm  raised,  the  left 
arm  lowered,  the  band  passing  obliquely  across  the 
back. 


69 

Movements — Both  arms . — 1st,  swing  the  left  arm 
backward  while  the  right  arm  is  brought  almost  in 
front,  pointing  obliquely  upward,  the  body  turning 
slightly  to  the  left ;  2d,  back  to  position.  Repeat. 
Reverse,  with  left  arm  raised  and  right  arm  lowered. 

96th  EXERCISE. 

ARMS. 

For  this  exercise  shorten  the  hand  at  both  ends  as  described  below. 

Position  as  in  Fig.  1  ;  now  drop  the  left  hand, 
bringing  the  band  perpendicular. 

The  Movements  are,  raising  and  lowering  the  right 
hand.  Repeat,  and  reverse,  with  left  hand  up  and 
right  hand  down. 


To  Shorten  the  Band. 

When  the  apparatus  is  not  sufficiently  heavy  in  its 
action  for  some  of  the  exercises,  as  for  example  The 
Health  Lift,”  “  The  Pulleys,”  &c.,  more  weight  or 
strain  may  be  added  by  shortening  the  band.  This  is 
done  by  holding  one  of  the  handles  upside  down ,  in 
the  left  hand,  make  a  loop  by  twisting  the  band  near 
the  handle,  and  passing  the  loop  over  the  longest  part 
of  the  handle,  that  is,  the  part  usually  grasped,  as 
shown  by  the  above  cut. 


SECOND  SERIES. 


The  Exercises  in  this  Series,  though  bringing 

INTO  PLAY  THE  VARIOUS  MUSCLES,  ACT  ALSO  DIRECTLY 
UPON  THE  NERVOUS  SYSTEM  ;  SOME  OF  THEM  THROUGH 
THE  GREAT  SYMPATHETIC  NERVE  AND  BASE  OF  THE 
BRAIN. 

The  movements  are  to  be  made  eery  slowly — so 
slowly,  in  fact,  that  the  movements  of  the  hands  are 
almost  imperceptible,  and  should  be  continued  ac¬ 
cording  to  the  strength  of  the  person  exercising.  It 
is  best  to  use  any  of  them  alternately  with  some 
of  the  exercises  of  the  first  series,  and  when  used 
with  music,  a  “  Tremolo,”  or  very  slow  tremulous 
music  assimilates  best  to  the  movements.  The  han¬ 
dles  should  be  grasped  tightly. 


For  this  series  select  the  following  exercises: — 


2d, 

4th, 

5th,  7th,  9th,  10th  12tli 

,  13th, 

14th, 

15th. 

16  th, 

17th, 

18th, 

19th, 

20th, 

23d, 

26th, 

27th, 

28th. 

29th, 

32d, 

34th, 

35  th, 

39th, 

40th, 

4  2d, 

43d, 

44th. 

45th, 

46th, 

48th, 

50tli, 

51st, 

52d, 

53d, 

54th, 

56th( 

57  th, 

58th, 

59th, 

62d, 

63d, 

64th, 

67th, 

70th, 

71st. 

76th, 

78th, 

90th, 

and  96th. 

[2d  Frontispiece.] 


FORMING  THE  HOLLOW  SQUARE. 

TO  RESIST  A  CAVALRY  CHARGE. 


Ser  png r  104. 


73 

TABLEAUX. 

It  will  be  seen  that  nearly  all  of  the  First  Series — 
the  postures,  combined  exercises  and  Tableaux — can, 
by  a  little  taste  and  judgment,  be  so  varied  and  ar¬ 
ranged  as  to  present  beautiful  scenic  effects  for  parlor, 
open  air  or  school  entertainments.  A  very  pretty  ef- 
i  feet  is  given  to  the  movements  by  decorating  the  han- 
|  dies  of  the  apparatus,  tying  a  small  bouquet,  dower, 
:  ribbon  or  dag  around  the  tops,  the  colors  being  varie- 
i  gated  and  arranged  to  show  to  the  greatest  advantage 
;  in  blending. 

The  various  exercises,  postures,  &c.,  can  be  in¬ 
creased  and  diversided  more  fully  than  is  illustrated 
in  this  work.  A  little  familiarity  with  the  use  of  the 
apparatus  will  cause  many  new  movements  and  fig¬ 
ures  to  suggest  themselves. 

The  Tableaux  should  be  formed  by  such  as  take 
part  in  it  remaining  perfectly  immovable  until  the  sig¬ 
nal  note  indicates  “change.”  This  rule  should  also 
be  observed  in  the  combined  postures  and  exercises, 
the  whole  class  moving  as  one  person.  This,  of  course, 
can  only  be  done  with  precision  after  a  few  rehearsals. 
The  posturing  and  combination  of  dgures  may,  if  so 
desired,  be  without  movements.  The  “change”  from 
one  to  another  in  that  case  will  be  all  the  action  neces¬ 
sary. 

See  Instructions  to  Teachers,  Class  Exercises,  &c..  pages  99,  100,  101. 


74 

THIRD  SERIES. 


THE  HEALTH  LIFT 


TRUNK,  HEAD,  NECK,  ARMS  AND  LEGS. 

This  exercise  is  the  same  as  the  celebrated  “  Lift 
Cure,”  with  the  advantage  that  it  does  not  necessi¬ 
tate  a  vast  amount  of  exertion  in  a  constrained 
and  awkward  position,  and  will  be  found  to  accom¬ 
plish  all  that  is  desired  by  the  most  ardent  votary  of 
the  famous  “  Lifting  Cure ,  of  which  so  much  has  been 
said  and  written. 

MODE  OF  USE. 

Take  two  expanders,  place  one  handle  of  each  on 


the  floor,  the  long  parts  of  the  handles  lying  against  I 
the  heel  of  the  boot,  and  the  pins  or  upper  parts  of 
the  handles  lying  against  the  soles ;  this  will  bring 
the  ends  of  the  bands  passing  underneath  the  hollow 
or  instep  of  the  feet,  as  shown  by  the  engraving,  and 
by  keeping  the  feet  down,  the  handles  will  remain 
fixed  in  position,  though  the  feet  can,  if  desired,  be 
slid  along  the  floor.  The  feet  may  be  either  spread 
j  apart,  as  shown  in  the  figure,  or  kept  close  together. 

|  The  movements  are,  bending  the  body  and  knees,' 
with  the  band  slightly  taut.  This  will  bring  a  hand  ! 
level  with  and  against  each  knee.  Now  slowly  raise 
the  body  to  the  perpendicular,  and  continue  to  raise  j 
the  hands  up  to  the  lower  part  of  the  chest ;  then,  with 
the  same  movements,  lower  the  hands,  and  gradually 
bend  the  body  to  the  starting  point ;  or,  by  inclining 
the  body  to  one  side,  we  raise  one  hand  and  lower  the 
other.  When  more  force  is  required ,  the  band  may  be 
shortened,  as  explained  on  page  69. 


1 


76 

THE  PULLEYS. 


SPINE,  CHEST,  SHOULDER  AND  ARMS. 

To  perform  this  exercise,  it  is  necessary  to  have 
two  rings  fixed  in  the  door  frame,  wall,  or  other  con¬ 
venient  spot,  the  rings  being  perpendicular,  as  shown 
in  the  cut.  The  handles  should  be  passed  entirely 
through,  and  then  drawn  close  against  the  rings.  The 
handles  will  thus  rest  against  one  side  of  the  rings, 
while  the  bands  will  pass  out  of  the  other,  as  shown  in 
the  engraving.  The  movements  are,  extending  and 
bending  the  arm  or  arms  either  both  together,  or  al¬ 
ternately,  and,  if  desired,  raising  and  bending  the 
body  to  correspond  with  the  arm  movements.  This 
exercise  may  also  be  performed  with  the  face  toward 
the  rings,  and  going  through  the  same  movements, 


hr  hr 

i  i 

either  slow  or  fast,  t his  will  be  just  the  same  as  saw¬ 
ing  wood. 

ROWING  THE  BOAT. 


EliCISE. 


This  exercise  is,  in  effect,  the  same  as  handling  the 
oars  in  rowing  a  boat,  the  twisting  of  the  wrists  cor¬ 
responding  to  the  action  of  u  feathering  the  oar”,  and 
produces  a  pretty  effect  as  a  class  exercise. 

To  perform  this  exercise,  two  apparatuses  are  ne¬ 
cessary  ;  one  of  the  handles  of  each  either  passed 
through  rings,  as  in  “The  Pulleys,”  or  tied  to  the 
back  of  a  chair  placed  against  the  one  on  which  the 

*  For  this  exercise  I  am  indebted  to  Mr.  F.  J.  Haggerty,  Principal  of 
Grammar  School  No.  4. 


78 

performer  is  sitting ;  or  they  may  be  held  by  a  second 
person,  as  shown  in  the  engraving,  either  seated  on  a 
bench,  or  upon  chairs,  with  their  backs  toward  each 
other.  The  band  being  parallel  with  the  arms,  the  j 
lower  or  longest  part  of  the  handles  will  be  turned  | 
inward  toward  each  other,  while  the  tops  of  the  han-  j 
dies  will  be  turned  outward.  The  movements  are 
with  the  arms  bent  and  the  hands  grasping  the  han-  ; 
dies,  as  shown  in  Fig.  B.  Both  arms  are  extended  j 
suddenly,  the  handles  twisted  as  in  “  feathering  the  | 
oar.”  These  movements  will  be  like  a  person  propel-  j 
ling  the  boat  with  his  face  to  the  bow\  By  securing  | 
two  of  the  handles  to  any  object  in  front  of  you,  or  by 
two  persons  seated  opposite  each  other,  one  person 
holding  a  handle  firmly  on  each  knee,  the  ordinary  j 
movements  of  rowing  with  the  back  to  the  bow  of  the  j 
boat  can  be  performed.  ; 


79 

FOURTH  SERIES 


These  exercises  are  more  especially  designed  to 
|  bring  into  action  the  muscles  of  the  trunk  and  lower 
|  extremities,  at  the  same  time  that  they  can  be  used 
!  for  individual,  combined  or  class  exercise. 


Stlattrtt  g  w  Perolm  SaliifltatlM' 

SPINE  AND  ARMS,  HEAD  AND  NECK. 

This  exercise  is  generally  used  at  exhibitions  at  the 
beginning  and  ending  of  the  exercises,  as  a  greeting 
to  the  audience.  The  music  should  be  very  slow,  a 
“  tremolo”  being  the  most  appropriate  for  this  figure. 
The  movements  are  begun  by  taking  position  as  in 
Fig.  1  of  1st  Series,  the  body  erect, both  arms  bent,  the 
band  across  the  chest.  The  1st  movement  is  :  slowly 
extend  both  arms ,  bending  the  body  and  lowering  the 
head  until  the  arms  are  extended  full  length  on  a  level 


80 

with  the  shoulders,  and  the  head  is  brought  to  a  level 
with  the  arms.  The  2d  movement  is,  with  the  eyes 
looking  downward,  slowly  raise  the  body,  at  the  same 
time  bending  the  arms  inward  ;  and  the  ‘3d  movement 
when  the  arms  are  almost  bent,  as  in  Fig.  1  ;  bring 
both  hands  up  to  the  shoulders,  throw  the  head 
back,  and  raise  the  eyes,  all  simultaneously,  to  the 
position  as  in  Fig.  1. 

This  exercise  can  also  be  performed  quickly,  and  in 
two  movements,  the  1st  bending  downward  and  ex¬ 
tending  the  arms,  the  2d,  up  and  back  to  position,  as 
in  Fig.  1. 


The  Supplicant, 

LEGS,  FEET,  ARMS,  CHEST,  HEAD,  AND  NECK. 

The  position,  as  shown,  is,  left  knee  bent,  the  right 


81 

|  leg  extended,  the  arms  obliquely  down  at  the  sides, 
I  the  band  held  behind  and  horizontal,  the  head  t  hrown 
back. 

The  movements  are — 1st,  raise  the  left  hand,  as 
shown  by  the  dotted  arm\  2d,  down  again  to  position; 
3d,  moving  the  right  hand  to  the  right ;  4th,  back  to 
position ;  5th,  moving  the  left  hand  to  the  left ;  6th, 
back  to  position ;  7th,  moving  both  hands  at  once,  the 
right  to  the  right,  the  left  hand  to  the  left,  as  shown 
!  by  dotted  lines  C  C ;  8th,  bring  the  body  erect  by 
moving  the  hollow  of  the  right  foot  against  the  heel 
of  the  left  foot ;  9th,  back  to  position.  Repeat,  and  re¬ 
verse,  with  the  right  leg  bent  and  the  right  arm 
raised. 


TRUNK,  WAIST,  LEGS,  ARMS,  HEAD  AND  NECK. 

The  position  of  this  exercise  is,  the  body  inclining 


82 


to  the  left  and  bending  slightly  forward,  the  feet 
somewhat  apart,  the  left  foot  in  advance  of  the  right 
foot,  the  left  arm  extended  down  at  the  side,  the  right 
hand  raised  nearly  up  to  the  left  shoulder. 

The  movements  are — 1st,  inclining  the  body  to  the 
right,  as  shown  by  the  dotted  figure ;  carry  the  right 
hand  obliquely  down,  following  the  dotted  line  A,  and 
raising  the  left  arm,  following  the  dotted  line  B  to  the 
left  shoulder  ;  2d,  incline  the  body,  lower  the  left  arm 
and  raise  the  right  arm  back  to  position.  Repeat. 


The  position  is,  the  left  leg  bent,  the  right  leg  ex- 
tented  backward,  the  right  foot  being  in  a  transverse 
direction  from  the  left  foot,  with  its  hollow  or  instep 
in  a  line  with  the  left  heel;  the  body  inclined  forward, 
the  left  arm  extended  level  with  the  shoulder,  the 
right  arm  bent,  its  elbow  level  with  the  top  of  the 
head. 


The  movements  are :  1st,  move  the  right  hand  back 
to  the  right  shoulder;  2d,  bend  the  left  arm,  bringing 
the  left  hand  to  a  level  with  the  forehead ;  3d,  extend 
the  left  arm  again,  and  4th,  move  the  right  hand  for¬ 
ward  again  to  position;  5th,  in  one  move  throw  the 
body  backward,  as  in  the  dotted  figure,  having  the  left 
leg  extended  and  the  right  leg  bent,  the  feet  and  arms 
remaining  as  they  were;  6th,  bring  the  body,  in  one 
move,  forward  to  position;  7th,  back  to  dotted  figure ; 
8th,  forward  to  position.  Repeat.  These  movements 
may  also  be  made  with  the  position  of  the  legs  re¬ 
versed,  the  right  leg  bent,  the  left  leg  extended,  the 
right  arm  extended  and  the  left  arm  bent. 


Vtn© 

TRUNK,  LEGS,  HEAD,  AND  NECK. 

Position — The  left  leg  forward  and  flexed,  the  right 


84 

leg  thrown  backward,  the  left  foot  parallel  with  the 
left  arm,  the  instep  of  the  right  foot  in  line  with  the 
heel  of  the  left,  the  left  arm  extended,  the  right  arm 
bent. 

Movements — 1st,  bring  both  feet  together,  turning 
the  body  to  the  front,  dropping  the  left  arm  to  the 
side,  and  carrying  the  right  hand  across  the  chest  to 
the  left  shoulder,  bringing  the  band  at  the  side,  as  in 
dotted  arm  ana l  band  A  and  B,  Fig.  6 ;  2d,  back  to 
position;  3d,  advance  the  right  about  six  inches  from 
the  left  foot,  bringing  the  body  erect  and  flexing  the 
left  arm;  4th,  incline  the  body  forward,  flexing  the 
left  knee  and  straightening  the  left  arm;  5th,  straight¬ 
en  the  body,  flexing  the  left  arm ;  6th,  back  to  posi¬ 
tion.  Repeat,  and  reverse  with  the  right  arm  exten¬ 
ded,  &c. 


The  AtfekePi. 

HEAD,  NECK,  TRUNK,  LEGS  AND  ARMS. 

Position — The  left  leg  bent  to  an  angle,  the  right 


85 

|  leg  extended  backward,  the  right  foot  being  in  a 
!  transverse  direction  from  the  left  foot,  with  its 
;  hollow  or  instep  in  a  line^with  the  left  heel,  the  body 
;  inclined  slightly  forward,  the  left  arm  extended 
i  obliquely  upward,  the  left  hand  level  with  the  fore- 
j  head,  the  right  arm  bent,  the  right  hand  resting 
|  against  the  right  hip. 

The  Movements  are — 1st,  bring  the  hollow  of  the 
right  foot  close  against  the  heel  of  the  left  foot,  bring¬ 
ing  the  body  erect ;  2d,  throw  the  right  foot  forward 
to  position.  Repeat.  The  position  of  the  legs  and 
arms  may  be  reversed  in  this  as  in  the  preceding 
postures. 


Tfo©  W'fefesdi 

HEAD,  NECK,  LEGS,  ARMS  AND  CHEST. 

The  Position  is — The  left  leg  bent,  the  right  leg  ex¬ 
tended  behind,  the  left  foot  pointing  forward,  the 
right  foot  pointing  transversely  with  its  instep  or 
hollow,  in  line  with  the  left  heel,  the  body  inclining  j 
very  slightly  forward,  the  left  arm  raised  obliquely, 
and  the  right  arm  lowered  obliquely. 

The  Movements  are — 1st,  bring  the  hollow  of  the 
right  foot  close  against  the  heel  of  the  left  foot,  bring¬ 
ing  the  body  erect ;  2d,  advance,  by  throwing  the  left 
leg  forward,  bending  it  as  in  position,  advancing  by 
repeating  these  movements.  The  position  of  the  legs 
and  arms  may  be  reversed,  left  foot  being  advanced, 
j  and  the  right  arm  raised. 


87 


The  Harteqwtet 

SPINE,  LEGS  A  NJ)  ARMS. 

The  Position  is — The  left  leg  bent,  the  right  leg  ex¬ 
tended,  the  left  arm  extended  obliquely  down,  the 
left  hand  level  with  the  knee,  the  right  arm  extended 
obliquely  upward. 

The  Movements  are — 1st,  lower  the  right  hand,  fol¬ 
lowing  the  dotted  circle,  at  the  same  timcf  raising  the 
left  hand,  thus  reversing  the  position  of  the  arms, 
the  left  arm  being  raised,  and  the  right  lowered  ;  2d, 
bring  both  arms  again  to  position  ;  3d,  wheel  on  the 
left  foot  facing  to  the  rear,  the  right  leg  being  swung 
around  to  aid  the  body  in  turning ;  4th,  wheel  on  the 


88 

left  foot  to  front  face.  These  movements  may  be  made 


This  Position  is — The  left  leg  bent,  the  right  leg  ex¬ 
tended,  the  toes  of  both  feet  pointing  diagonally  in 
front  of  the  body,  the  left  arm  extended  downward, 
the  left  hand  just  below  the  knee,  the  right  arm  ex¬ 
tended  upward,  the  body  inclining  to  the  left. 

The  Movements  are — 1st*  with  the  feet  immovable 
incline  the  body  to  the  right,  lowering  the  right  arm 


89 

and  raising  the  left,  placing  the  band  as  shown  by  the  i 
dotted  lines ;  2d,  incline  the  body  to  the  right,  as  in 
position. 

JTrb© 

TRUNK,  LEGS  AND  ARMS. 

This  Position  is  the  same  as  in  Fig.  4  of  the  first 
series,  the  body  erect,  the  heels  close  together,  the 
right  arm  extended  obliquely  upward,  the  left  arm  ! 
extended  obliquely  down. 

The  Movements  are — 1st,  lower  the  right  arm  and 
raise  the  left,  following  the  dotted  lines  from  B  to  A, 
at  the  same  time  drawing  the  right  foot  back,  so  that 
its  instep  is  brought  against  the  heel  of  the  left  foot, 
turning  the  body  slightly  to  the  right.  £d,  lower -the  ! 
left  arm  and  raise  the  right,  moving  the  left  foot 
backward,  bringing  its  instep  against  the  heel  of  the 
right  foot,  turning  the  body  slightly  to  the  left ;  the 
feet  should  slide  along,  the  body  moving  by  a  sort  of 
swinging  motion  of  the  arms  in  raising  them  up  and 
down.  Repeat. 

The  advance  movements  are  made  by  bringing  the 
|  heel  of  the  left  foot  against  the  instep  of  the  right 
foot,  and  then  the  heel  of  the  right  foot  against  the 
|  instep  of  the  left  foot,  raising  and  lowering  the  arms, 
and  turning  the  body  in  the  forward  movements  as  in 
the  backward  movements. 

i 

HEAD,  NECK,  TRUNK,  LEGS  AND  ARMS. 

This  Position  is  the  same  as  in  the  Supplicant. 

The  Movements  are — 1st,  raise  the  right  hand,  car¬ 
rying  it  over  the  centre  of  the  head  forward  and 
down  in  front  to  a  level  with  the  left  hand  ;  2d,  raise 


90 

the  left  hand,  carrying  it  over  the  centre  of  the  head 
backward  and  down  to  position.  The  movements  of 
the  hands  should  be  continuous,  the  body  inclining 
forward  as  the  right  hand  is  carried  forward,  and  back¬ 
ward  as  the  left  hand  is  carried  backward. 


91 


FIFTH  SERIES. 


COMBINED  tXtWBtB, 


The  position  is,  the  right  feet  close  together.  A 
stands  with  the  right  leg  forward,  slightly  flexed,  the 
left  leg  thrown  backward,  the  body  erect,  the  right 
arm  bent,  the  right  hand  at  the  waist,  the  left  arm 

*  For  this  exercise,  I  am  indebted  to  Mr.  John  H.  Myers,  Vice-Principal 
of  No.  It. 


92 

bent,  the  left  hand  raised.  B  stands  with  the  right 
leg  bent,  the  left  leg  thrown  back,  the  instep  of  the 
left  foot  in  line  with  the  heel  of  the  right  foot,  the 
body  inclined  slightly  forward,  both  arms  extended 
in  front,  the  left  arm  raised,  the  left  hand  level  with 
the  lower  part  of  the  face,  the  right  arm  lowered,  the 
right  hand  level  with  the  waist ;  the  bands  will  cross 
obliquely  and  just  touch.  The  movements  are  :  1st, 
both  draw  the  right  feet  back  to  the  left,  bringing  the 
bodies  erect ;  2d,  reverse  the  position,  A  throwing  the 
left  leg  forward,  slightly  Hexed,  and  the  right  leg 
backward  ;  B  throwing  the  left  leg  forward  and  bent 
with  the  right  leg  extended  backward,  the  left  feet 
being  close  together;  and  in  the  same  movement  re¬ 
verse  the  position  of  the  arms,  A  raising  the  light 
arm  and  lowering  the  left,  while  B  lowers  the  right 
and?  raises  the  left  arm,  the  bands  crossing  obliquely 
as  before,  both  stamping  the  feet  in  changing  position. 
Repeat,  and  vary  by  A  extending  both  arms  and 
bending  the  leg,  while  B  has  both  arms  bent. 


93 


TRUNK,  HEAD,  NECK,  ARMS  AND  LEGS. 

Position — A  has  the  right  leg  forward  and  bent, 
the  left  leg  extended  sideways,  the  right  arm  ex¬ 
tended  upward,  and  the  left  arm  bent.  B  has  the 
right  leg  thrown  forward  and  bent,  the  left  leg  ex¬ 
tended,  the  right  arm  extended  upward,  the  left  arm 
bent,  body  and  face  to  the  rear  ;  the  bands  will  cross, 
that  held  by  the  left  hands  will  pass  under  the  band 
held  by  the  right  hands. 

The  Movements  are — 1st,  B  lowers  the  left  arm, 
and  wheeling  to  the  right  turns  under  the  upper  band, 


with  his  back  to  A,  bringing  both  his  feet  together,  j 
while  A  comes  to  an  erect  position  and  remains  im-  | 
movable,  the  four  arms  being  extended  upward;  the 
bands  in  this  movement  will  be  parallel ;  2d,  B  lowers 
the  left  arm,  wheeling  to  the  left,  turns  under  the 
upper  band  and  faces  A ;  3d,  A  lowers  the  left  arm, 
wheeling  tothe  left,  under  the  upper  band,  and  turns 
with  his  back  to  B,  bringing  his  feet  together,  B  re¬ 
maining  immovable,  the  four  arms  extended  upward ; 
the  bands  will  in  this  movement  be  crossed;  4th,  A 
lowers  the  left  arm,  wheeling  under  the  upper  band, 
and  comes  again  to  position ;  5th,  A  and  B  wheel 
simultaneously,  A  by  the  left  and  B  by  the  right, 
turning  back  to  back ;  the  bands  in  this  movement 
!  will  be  crossed ;  Oth,  both  wheel  back  to  position. 


95 


Position,  back  to  back,  both  arms  extended  upward, 
the  right  legs  thrown  forward  and  flexed,  the  left  legs 
backward,  the  bodies  inclining  backward. 

Movements. — 1st,  bring  both  feet  together  and 
bodies  erect ;  2d,  bring  the  left  feet  close  up  to 
each  other;  3d,  throw  the  right  feet  forward;  4th, 
bend  the  arms,  bringing  the  hands  to  the  shoulders  ; 
5th,  bend  the  bodies  forward  as  in  dotted  figures ; 
(3th,  the  bodies  upright  again  ;  Hh,  extend  the  arms 
sideways  level  with  the  shoulders;  8th,  bring  the 


96 


arms  to  the  shoulders ;  9th,  extend  the  arms  upward ; 
10th.  bring  the  bodies  erect ;  11th,  out  to  position. 


R)Si<S®IP8e 

TRUNK,  ARMS  AND  LEGS. 

Position. — The  right  legs  forward  and  bent  at  an 
angle,  the  left  legs  thrown  backward,  the  right  arms 
extended  in  front  level  with  the  shoulders,  the  left 
arms  extended  upward. 

Movements. — 1st,  each  one  brings  the  left  foot 
against  the  right  foot,  bringing  the  body  erect ;  2d, 
throw  the  right  feet  forward,  bending  the  right  legs ; 
3d,  each  one  brings  the  left  foot  against  the  right  foot, 
bodies  erect ;  4th,  out  to  position.  The  reverse  move¬ 
ments  are  made  by  bringing  the  right  feet  back  to  the 


97 


left,  and  throwing  the  left  feet  backward,  moving 
backward  by  these  movements. 


*  TRUNK,  HEAD,  NECK,  ARMS  AND  LEGS. 

Position — The  right  arms  extended  obliquely  up¬ 
ward,  the  left  arms  bent,  the  left  hands  level  with  the 
waist. 


*  For  some  of  the  movements  in  this  Exercise  I  am  indebted  to  Miss 
Carrie  V.  Franklin,  Principal  of  Primary  Department  No.  11. 


98  ,  | 

Movements. — -1st,  drop  the  right  hands  and  raise 
the  left;  2d,  drop  the  left  hands  and  raise  the  right; 
3d,  stamp  the  right  feet,  bringing  them  close  to¬ 
gether;  4th,  raise  and  lower  the  right  and  left  hands 
alternately ;  5th,  back  to  position ;  6th,  extend  the 
arms  upward  ;  7th,  raise  and  lower  each  band  alter¬ 
nately,  bringing  the  hands  to  the  shoulders  and  ex-  j 
tending  the  arms  upward  in  the  movement;  8th,  back 
to  position ;  9th,  drop  on  one  knee,  having  the  bands  I 
crossed;  10th,  up  to  position;  11th,  extend  the  arms 
upward  ;  12th,  A  lowers  the  left  hand  and  B  the  right 
hand,  A  turns  to  the  right  and  B  to  the  left ;  this  will  j 
bring  them  back  to  back;  13th,  both  stamp  with  each  j 
foot  alternately  four  times;  14th,  turn  face  to  face  by 
A  lowering  the  left  hand  and  B  lowering  the  right ;  j 
A  turns  to  the  left  and  B  turns  to  the  right ;  15th, 
arms  and  hands  to  position.  In  these  turning  move-  ! 
ments  one  band  is  held  aloft,  both  A  and  B  turning  ! 
under  it. 

Th© 

TRUNK,  LEGS  AND  ARMS. 

Position  as  on  Page  88.  A  inclines  to  the  right,  ! 
the  right  leg  bent,  the  left  leg  extended  to  the  left,  the  j 
left  arm  extended  downward,  the  left  hand  below  the  : 
knee,  the  left  arm  extended  upward  ;  B,  a  little  to 
the  rear  of  A,  inclines  to  the  left  with  the  left  leg- 
bent,  the  right  leg  extended  to  the  right,  the  right  arm 
extended  downward,  the  left  arm  extended  upward. 

Movements — 1st,  A  and  B  reverse  positions  by  A 
inclining  the  body  to  the  left  and  taking  B’s  position, 
and  B  to  the  right,  the  body  of  A  passing  in  front  of 
B  in  the  movement,  the  feet  of  both  remaining  im¬ 
movable;  2d,  back  to  positions. 


For  the  sake  of  uniformity  and  precision,  when  used 
without  music,  eacli  movement  should  be  numbered 
by  the  instructor,  counting  the  first  move  as  the  1st, 
the  second  as  the  2d,  and  so  on,  and  between  each 
move  count  four  regular  ^beats,  whether  the  time  be 
fast  or  slow,  making  each  movement  at  “  one”  thus  ; 
“one!”  (movement!)  two,  three,  four;  “one” 

(  movement  ! )  two,  three,  four,  and  so  on.  This  will 
give  a  greater  accuracy  in  timing  the  movements  to 
music.  Each  separate  exercise  may  be  prolonged  by 
repeating  it,  at  the  option  of  the  teacher,  or  for  the 
sake  of  variety,  may  be  connected  with  the  succeding 
ones,  following  up  one  after  another  without  repeating 
each  one  separately  more  than  once;  but,  of  course,  a 
class  should  become  familiar  with  one  exercise  before 
being  taught  others.  When  used  in  a  crowded  class¬ 
room,  select  such  exercises  as  are  best  adapted,  and,  ; 
if  necessary,  shorten  the  band,  as  explained  on  page  69. 
Many  schools  use  them  also  in  the  class-room  as  a  re¬ 
laxation,  and  in  this  manner  the  dragging  weariness 
and  monotony  of  study  is  broken  when  at  intervals, 
even  for  a  few  seconds,  and  it  will  be  found  that  by 
this  method  the  mind  is  relieved  and  becomes  more 
impressionable  on  resuming  study.  Thus  time  is 
gained ,  not  lost. 

There  are  a  few  teachers  who,  as  they  imagine  to 
save  time,  dispense jwith  exercise  in  school,  and,  as  a 
means  of  expanding  the  chest,  have  recourse  to  a  pro- 


100 

cess  of  pinioning — that  is,  causing  the  child  to  sit  or 
stand  with  its  arms  folded  behind.  This  is  an  error. 
What  in  reality  is  needed  is  exercise ,  that  the  lungs 
and  muscles  of  the  chest  may  be  properly  brought 
into  action,  and  not  impaired  by  rigidity.  There  are 
many  exercises  which  can  be  used  by  the  children 
without  the  necessity  of  rising  from  their  seats,  for 
which  see  class-room  exercises,  page  11**. 

IVtusstej 

These  exercises  can  be  adapted  to  almost  any  music, 
by  counting  the  strokes  between  each  movement  as 
already  explained,  and,  if  so  desired,  the  movements 
may  be  indicated  by  notes  a  little  heavier  than  the 
others  ;  but  this  will  not  be  absolutely  necessary,  pro¬ 
vided  the  plan  of  counting  between  each  movement  is 
followed.  The  change  of  position  from  one  exercise  to 
another  can  also  be  made  by  counting,  or  by  a  note 
louder  than  the  rest,  or  one  note  forming  part  of  the 
tune  itself.  For  exhibitions,  in  such  exercises  in  which 
the  movements  are  performed  with  the  band  at  the 
back,  the  class  should  “  about  face,”  so  that  the  uni¬ 
form  movements  of  .the  band  may  be  seen. 

Signals* 

These  are,  as  before  stated,  not  absolutely  necessary, 
if  the  system  of  counting  is  adopted,  but  when  other¬ 
wise,  they  are  indicated  by  loud  notes,  where  it  is  de¬ 
sired  to  pass  on  from  one  exercise  to  another,  without 
stopping.  Thus,  from  the  1st  to  the  2d  exercise,  the 
1st  ending  in  position,  with  the  band  across  the  chest, 
three  “  signals,”  or  loud  notes  may  be  used — 1st,  for 
the  band  overhead ;  2d,  about  face;  3d,  down  to  “ posi¬ 
tion ”  in  2d  exercise.  But  in  the  reverse  movements 


signals  will  not  be  necessary,  as,  lor  instance* 
second  exercise,  or  any  other  having  a  reverse  move¬ 
ment.  After  exercising  with  the  right  arm  a  certain 
number  of  times  corresponding  to  the  music  selected, 
the  arm  is  brought  back  to  “ position ”  by  a  loud  note 
or  the  end  of  the  tune,  which,  of  course,  would  be 
commenced  again  for  the  movements  of  the  left  arm, 


and  continued  on  to  the  end ;  but  it  should  be  so  ar¬ 
ranged,  that  whatever  music  is  chosen  the  number  of 
moves  in  the  exercise  be  made  to  correspond,  that  the 
movements  may  end  with  the  end  of  the  tune,  or 
such  part  of  it  as  has  an  apparent  termination,  even 
though  a  few  notes  be  struck  after  the  last  move,  or  a 
part  of  the  air  played  as  a  prelude  before  commencing 
the  exercise. 

Between  the  exercises,  as  a  rest,  or  in  marching,  the 
handles  may  be  used  as  castenets ,  or  by  striking  one 
against  the  other,  keeping  time  to  the  music. 


ANY  EXERCISE  IN  THE  ROOK  MAY  BE  USED  AS  A 
CLASS  EXERCISE. 

The  first  requisite,  for  a  number  of  persons  exer¬ 
cising  together  with  a  view  to  uniformity  in  appear¬ 
ance,  is  to  size  the  class.  This  is  done  by  placing 
those  who  are  to  take  part  in  the  exercises  in  a  line, 
standing  perfectly  erect,  so  that  the  exact  height  of 
each  one  can  be  judged.  The  shortest  are  then  placed 
:  in  the  front  rank,  the  next  taller  in  the  next  rank, 
and  so  on  gradually,  the  tallest  forming  the  rear  rank ; 
or,  if  another  arrangement  is  preferred,  the  tallest 
I  may  form  two  rows  in  the  centre,  the  shorter  ones 
descending  in  size  on  each  side,  from  the  centre  rows, 

'  toward  the  right  and  left. 


102 

[Note. — Except  in  “Forming  the  Hollow  Square,” 
the  word  “Rank”  will  indicate  the  linesextending 
from  side  to  side ,  and  “  Column  ”  will  designate  the 
lines  from  front  to  rear. ] 

In  selecting  the  exercises  it  is  not  necessary  to 
follow  the  order  in  which  they  occur.  Any  of  the 
exercises  in  the  book,  excepting  “The  Pulleys,” 

MAY  BE  USED  FOR  CLASS  EXERCISE.  Ill  SOHie  of  the 

postures  and  combined  exercises,  effect  is  given  by 
stamping  the  feet  on  changing  position,  but  in  such 
as  the  “Health  Lift”  and  “Supplicant,”  it  would 
not  be  appropriate.  Many  of  the  posture  exercises 
may  be  increased,  by  facing  to  the  sides  and  rear. 

The  preliminary  movement  generally  used  at  ex¬ 
hibitions  is 

lurolttof  the  ItmL 

Position — The  heels  close  together,  toes  turned  out¬ 
ward,  body  erect  and  chest  thrown  forward.  The  ap¬ 
paratus,  being  upside  down ,  is  held  in  the  left  hand. 
For  these  movements  five  signal  notes  are  used, 
counting  as  in  the  other  exercises,  four  regular  strokes 
between  each  move,  and  moving  at  the  “  one :”  1st, 
raise  the  left  hand  to  the  left  shoulder;  2d,  raise  the 
right  arm  bent,  carrying  the  right  hand  obliquely 
across  the  chest  to  the  left  shoulder,  and  inserting  the 
two  forefingers  through  the  small  elastic  tie ;  3d, 
bending  the  fingers,  slip  the  tie  off  the  handles,  retain¬ 
ing  it  on  the  lower  part  of  the  fingers,  and  keeping 
the  right  hand  close  to  the  handles;  4th,  turning  the 
j  left  hand  downward,  raising  the  elboAv  level  with  the 
|  shoulders,  in  this  manner  turning  the  handles  ready 
for  the  grasp;  5th,  with  each  hand  grasping  the  lower 
part  of  a  handle,  move  the  right  hand  to  the  right 


103 

shoulder  and  the  left  hand  to  the  left  shoulder,  coming 
to  “ Position”  as  in  Fig.  1.  The  first  note  of  a  “tre¬ 
molo,”  or  slow  music,  is  then  struck  for — 

Th;&  Sataarni* 

When  the  head  is  brought  to  a  level  with  the 
i  shoulders  and  the  arms  fully  extended,  a  second 
heavy  note  is  given  for  the  2d  movement,  and  a  third 
heavy  note  to  bring  the  body  and  head  completely 
erect  and  the  eyes  raised,  as  in  Fig.  1 ;  following 
which  any  exercise  in  the  book,  excepting  the  “  Pul¬ 
leys,”  may  be  used  for  class  exercise,  in  addition  to 
the  following  combinations  for  tableaux,  &c. 

Position — Stand  in  columns,  both  arms  raised,  hold- 
;  ing  the  bands  as  shown.  This  figure  is  performed  in 
;  columns. 

The  Movements  are — 1st,  one  column  lowering  the 
left  hands  and  the  other  lowering  the  right  hands, 
turn  back  to  back,  as  in  the  12th  movement  of  “The 
Combatants,”  then  raise  both  hands  ;  2d,  with  the  14th 
movement  in  u  The  Combatants,”  again  turn  face  to 
lace;  3d,  one  column  lowering  the  right  and  the  other 
the  left  hands,  turn  half  round,  front  face,  and  bring  the 
j  hands  which  are  lowest  in  front  of  the  forehead;  4th, 
back  to  position ;  5th,  perform  the  same  movement  as 
the  3d,  facing  to  the  rear;  6th,  back  to  position  ;  in 
turning,  those  on  the  right  should  lower  the  left  hands 
and  those  on  the  left  should  lower  the  right  hands, 
i  turning  to  the  left,  and  vice  versa;  this  will  cause  all 
!  to  turn  under  the  upper  bands ;  7th,  lower  and  raise 
each  band  alternately,  the  hands  being  .brought  level 

!  *  See  first  Frontispiece. 


104 

with  the  shoulders,  and  extended  upward,  repeating 
these  movements;  8th,  perform  the  3d  movement 
again,  and  raise  the  bands  from  the  foreheads,  extend¬ 
ing  these  arms  and  lowering  the  others,  repeating 
these  movements  ;  9th,  back  to  position  ;  10th,  of  the 
front  couple,  the  one  to  the  right  lowers  both  hands 
to  the  shoulders ;  this  will  bring  the  bands  passing 
obliquely  upward  towards  her  partner;  of  the  second 
I ,  couple  the  one  to  the  left  lowers  both  hands  to  the 
shoulders,  the  one  to  the  right  in  the  third  couple 
lowers  both  hands  to  the  shoulders,  and  so  on,  every 
other  person  on  each  side  lowering  the  hand;  the 
bands  will  thus  form  the  Cross  Bower ;  all  raise  and 
lower  the  arms  alternately.  The  number  of  times  for 
i  repeating  each  movement  by  itself  is  optional. 

Forming  HqIIqw  Squarte* 

Position — The  front  rank  kneeling  on  left  knee,  left 
arm  extended,  the  hand  level  with  the  forehead,  the 
right  arm  bent,  its  hand  on  the  hip,  the  body  inclined 
;  forward,  the  eyes  directed  to  the  hand  in  front.  The 
I  second  rank ,  left  leg  bent,  the  right  thrown  backward, 
|  left  arm  extended  slightly  below  the  horizontal,  the 
right  arm  bent,  its  hand  on  the  hip,  body  inclined 
I  slightly  forward.  The  third  rank  stands  erect,  the 
right  foot  pointing  to  the  right,  its  heel  drawn  up 
|  against  the  instep  of  the  left  foot,  which  is  pointed  to 
the  front,  the  left  arm  extended  level  with  the  shoul- 
|  der,  the  right  arm  bent. 

Movements. — 1st,  all  come  to  an  erect  position, 

|  bringing  the  hands  to  the  shoulders  and  band  across 
the  chest,  as  in  Fig.  1,  the  middle  rank  drawing  the 

*  See  second  Frontispiece. 


105 

feet  together  and  the  front  rank  springing  to  the  feet, 
all  in  one  movement ;  2d,  all  back  to  position,  stamp¬ 
ing  once  on  going  into  position  and  coming  erect ;  re¬ 
peat  ;  3d,  all  come  to  the  erect  position  again  ;  4th, 
wheel  to  the  right ;  5th,  reverse  position,  thus,  that 
which  was  the  rear  rank  becomes  the  front  rank,  and 
the  former  front  rank  becomes  the  rear  rank  ;  in  this 
change  of  position  the  right  arms  will  be  extended  and 
the  right  knees  bent  ;  6th,  all  again  come  to  the  erect 
position,  as  in  Fig.  1,  repealing  the  1st  and  2d  move¬ 
ments  ;  7th,  erect ;  8th,  wheel  to  the  left ;  9th,  all  drop 
the  left  arm  at  the  side,  carrying  the  right  hand  across 
the  chest  to  the  left  shoulder,  as  in  Fig.  6,  dotted  arm 
B ;  10th,  those  at  front  ends  of  the  ranks  move  slowly 
I  round  as  a  pivot,  while  those  at  the  rear  ends  will 
|  move  quickly,  bringing  the  whole  section  front  face 
!  to  the  front;  11th,  go  into  position;  repeat  1st  and 
2d  movements;  12th,  erect,  as  in  Fig.  1;  13th,  the 
|  rear  rank  and  right  half  of  the  middle  rank  about 
|  face,  and  the  front  rank  and  left  half  of  middle  rank 
|  face  to  the  left;  14th,  the  left  end  of  the  rear  rank 
swings  quickly  around,  the  right  end  moving  as  a  pivot  j 
very  slowly ;  this  will  bring  the  rank  facing  to  the 
left ;  the  right  half  of  the  middle  rank  will  conform 
its  movements  to  the  rear  rank,  so  as  to  bring  it  also  | 
facing  to  the  left.  This  constitutes  the  first  section. 
At  the  same  time  the  front  rank  and  left  half  of  the  j 
middle  rank,  making  the  second  section,  forward  a 
few  steps  to  the  left ;  the  head  of  the  second  section 
wheels  and  marches  to  the  rear,  the  other  part  of  the 
section  follows,  describing  an  angle  or  elbow  in  the 
movement ;  having  arrived  opposite  the  first  section, 
it  will  halt ;  the  two  sections  now  forming  the  parallel 


106 

sides  of  a  square ;  loth,  the  long  lines  will  now  spread 
apart,  each  person  leaving  room  for  one  between  him¬ 
self  and  his  neighbor;  the  half  ranks  conforming  to 
this  movement,  will  spread  apart  so  as  to  come  op¬ 
posite  these  spaces;  16th,  the  half  ranks  step  forward 
and  fill  in  these  spaces,  making  but  one  entire  line  on 
each  side;  17th,  the  right  line  throw  back  the  left  leg, 
and  the  left  line  the  right  leg,  coming  into  the  posture 
\  of  The  Archer ,  page  84,  changing  position,  charging 
from  left  to  right,  and  from  right  to  left,  repeating, 
and  then  from  the  Archer  to  The  Sharpshooter^ 
page  82. 

To  form  the  Hollow  Square  properly,  there  should 
be  four  sections  of  three  ranks  each,  rear,  front  and 
sides,  when  space  and  a  sufficient  number  permits;  in 
that  case  only  the  1st  and  2d  movements  can  be  made  ; 
and  in  breaking  up  to  form  the  Archers  the  front  and 
rear  sections  will  advance  toward  each  other,  forming 
with  the  side  sections  similar  to  the  letter  ||=|| ;  then 
the  front  halves  of  the  side  sections  will  forward,  to 
make  room  for  the  middle  sections,  then  the  front  and 
rear  sections  together  forming  the  middle  section  or 
cross  bar  of  the  j|=||,  will  divide  into  two  halves,  the 
right  half  will  swing  to  the  right,  the  left  half  to  the 
left,  filling  in  the  space  in  the  side  sections,  executing 
the  movements  from  the  7th  to  the  Archers  and  Sharp¬ 
shooters  with  any  necessary  modification.* 

Forming  tfe©  &mhmt 

This  figure  is  performed  in  columns, and  then  in  ranks. 

The  columns  face  each  other,  the  position  being 
as  in  Fig.  1. 

*  Some  of  these  movements  were  performed  at  an  exhibition  in  Mr. 
Lafayette  Olneys’  School,  under  the  direction  of  Mr.  Pettigrew. 


107 

Movements. — 1st,  bend  the  body  forward  and  ex¬ 
tend  the  arms  obliquely  upward,  the  bands  of  the 
opposite  columns  should  meet  and  just  touch  ;  2d,  back  1 
to  position  ;  3d,  now  in  ranks  the  front  rank  about 
face,  facing  the  second  rank,  which  is  behind  them,  and  1 
form  the  arches;  the  third  rank  about  face,  facing  j 
those  behind  them,  and  form  the  arches  with  the  fourth 
rank,  and  so  on,  every  other  rank  turning  to  the  rear 
and  facing  the  rank  behind  it  ;  4th,  back  to  portion. 
Kach  move  may  be  repeated  separately  a  number  of 
times  before  turning. 

Forming;  the  Q  roves. 

This  figure  is  performed  in  columns  only,  even  al¬ 
ternate  column  facing  to  the  rear,  the  others  being 
front  face.  Position  as  in  Fig.  4,  the  right  arms 
raised  obliquely,  and  the  left  arms  lowered  obliquely; 
the  hands  of  one  column  should  almost  touch  those  of 
!  the  next  column. 

The  movements  are,  raising  and  lowering  each  arm 
alternately;  then  remain  in  position  awhile;  now  reverse 
positions  by  those  columns  which  where  turned  toward 
the  rear  facing  to  the  front,  and  those  which  were  i 
front  face  turn  to  the  rear;  each  column  now  inclines 
to  its  right  side;  the  right  hands,  being  raised,  will 
touch ;  after  remaining  thus  a  while,  all  raise  and  lower 
the  arms  as  before,  and  then  back  to  position;  then 
reverse  the  position  of  the  arms,  raising  the  left  and 
lowering  the  right,  and  perform  the  same  movements 
as  before,  except,  in  inclining,  each  column  should  in¬ 
cline  to  its  left  side. 

The  lyieving 

This  figure  is  performed  in  ranks  only,  all  face  to  1 
the  front.  Position  as  in  Fig.  1,  dotted  arms ,  both 


108  | 

arms  raised,  the  elbows  on  a  line  with  the  shoulders. 

Movements. — The  s&me  as  in  the  60th  Exercise,  | 
the  front  rank  moving  the  band  to  the  right  side,  while 
the  second  rank  moves  the  band  to  the  left  side,  the 
third  to  the  right  side,  the  fourth  to  the  left  side,  each 
rank  moving  the  band  in  the  opposite  direction  to 
those  in  front  of  it. 

Th©  Wmmm* 

This  figure  is  performed  in  ranks  and  columns. 

-  All  front  face.  Position  as  in  Fig.  1. 

The  movements  are,  the  first  rank  about  face  taking 
the  posture  of  “The  Fencers,”  page  91,  with  the 
second  rank,  which  remains  front  face;  the  third  rank 
in  like  manner  turns  to  fence  with  the  fourth,  and  so  ; 
on,  every  other  rank  facing  to  the  rear;  then  all  front 
face,  and  back  to  position  as  in  Fig.  1. 

Now,  in  columns  wheel,  each  column  turning,  to 
alternately  face  the  columns  on  its  right  and  left,  and 
crossing  bands  with  them.  The  hands  in  the  cross 
band  movements  should  be  alternately  raised  and 
lowered,  reversing  the  positions  of  the  bands. 

Oarsmen* 

Position  and  movements  the  same  as  in  “  Rowing 
the  Boat,”  page  77,  except  for  a  class  exercise,  benches 
may  be  used  instead  of  chairs,  and  instead  of  securing 
the  handles  by  means  of  rings  two  persons  should 
exercise,  seated  back  to  back,  as  shown. 


109 


Wwmlmg  th©  Canopy, 

This  figure  is  formed  in  sets  of  four,  two  persons 
having  hold  of  one  band,  with  the  right  arm  extended 
upward,  as  shown. 

The  Movements  are — slackening  the  bands,  bring 
the  four  right  hands  together,  the  arms  being  ex¬ 
tended,  they  remain  thus  for  awhile, to  form 


Then  move  the  arms  back  again  to  position. 


110 

Wattes,  Seftotf?sG(i©s? 

A  few  examples  are  here  given,  not  classified,  to  be 
improved  upon,  enlarged,  or  modified,  as  preferred. 
hi  / executing  the  turning  movements  with  the  two 
hands ,  and  turning  entirely  around ,  to  avoid  twisting 
the  hands ,  the  handles  shoidd  not  he  grasped  too  tightly . 

Quadrilles  can  be  formed  as  usual,  in  sets  of  four 
or  eight,  and  the  movements  made  as  in  any  ordinary 
set,  slightly  modified  to  adapt  them  to  the  movements 
for  using  the  bands ;  as  also  in  the  Lanciers,  the  vari¬ 
ous  changes  to  be  made  with  the  bands  will  readily 
suggest  themselves  to  any  intelligent  mind. 

Example  :  Form  sides  and  heads  as  usual;  then  at  j 
the  proper  time  raise  the  bands  overhead,  and  com¬ 
mence  the  figure  by  partners  bowing,  first  to  each  j 
other,  holding  the  band  aloft,  then  turning  under  the  | 
band  to  the  side  couples,  all  incline  or  bow  as  usual, 
going  through  the  various  figures  of  an  ordinary  qua¬ 
drille  or  lanciers,  passing,  at  times,  under  the  band 
of  the  vis-a-vis,  and  vice  versa. 

Waltzes  are  performed  in  the  usual  waltz  step ;  when 
by  one  person  waltzing  alone,  the  band  is  held  over¬ 
head,  as  in  Fig.  1,  dotted  arms ,  obliquely  at  the  sides,  as 
in  Fig.  5,  or  obliquely  across  the  back,  as  in  Fig.  4,  if 
desired,  changing  the  position  of  the  band  from  side  to 
side  in  the  waltzing.  When  two  persons  waltz  together, 
the  band  should  be  held  by  both,  and  turning  under  the 
band  in  the  same  direction,  or  in  contrary  directions; 
but,  when  each  partner  turns  in  opposite  ways,  the 
entire  circle  described  by  both,  and  the  latitude  of 
movement,  will  be  much  more  circumscribed  than 
when  both  waltz  in  the  same  direction. 

The  Schottisches,  Polkas  Ac.,  may  be  executed  in  j 


Ill 

the  same  maimer,  with  any  modifications  which  may 
suggest  themselves. 

QUA  1>RI LEE  FIG  U  ll  ES.* 

1st  Figure  is  performed  by  sets  of  four,  in  the  same 
position  as  “  The  Canopy,”  page  109.  The  movements 
are,  bringing  the  hands  together,  forming  the  “  Bou¬ 
quet,”  lowering  the  arms  and  inclining  to  the  centre, 
and  making  the  complete  curtsey. 

2d  Figure,  every  body  erect  again,  turn  back  to  back, 
bend  the  arms,  bringing  the  hands  to  the  shoulders, 
incline  very  slightly  forward,  lowering  the  heads,  thus 
saluting  the  other«sets. 

3d  Figure,  all  back  again  to  position  ;  first,  one 
partner  turns  completely  around  under  the  band,  back 
to  position,  then  the  second,  third  and  fourth,  then 
all  turn  at  the  same  time.  In  these  movements  each 
one  remains  in  place. 

4th  Figure,  in  starting  from  places,  move  complete¬ 
ly  around  in  a  circle  back  to  places,  all  turning  to  the 
right  ;  then  reverse,  by  turning  to  the  left,  in  these 
movements  going  completely  around  and  back  to 
places. 

5th  Figure,  the  same  movements  as  the  4th,  except 
that  each  set  moves  in  a  contrary  direction  to  the 
others — one  to  the  right,  the  other  to  the  left,  and  so 
forth,  and  then  reverse  these  movements. 

If  desired,  the  3d,  4th,  and  5th  Figures  may  be  re¬ 
peated  in  waltz  step. 

6th  Figure.  In  this  the  bands  are  not  crossed,  though 
they  are  held  with  the  arms  extended  upward,  and 
both  partners  stand  on  the  same  side,  facing  their  vis- 

*  For  some  of  these  Figures  1  am  indebted  to  Miss  M.  Louisa  Scott, 
Principal  Senior  Department  Grammar  School  No.  41,  and  Miss  Kate  R. 
Enis,  pianist  ot  the  same  school. 


112 

a-vis.  The  movements  are :  one  partner  waltzes  around 
the  other  thus :  A  starts  from  place,  waltzes  around 
B,  the  band  in  this  movement  passing  over  B’s  head, 
while  B  turns  around  under  the  band ;  also,  in  waltz 
movement,  forming,  as  it  were,  a  revolving  pivot, 
while  A  follows  the  outer  circle  of  a  wheel.  Re¬ 
verse,  moving  back  again  to  places;  then  reverse 
again,  each  set  moving  in  contrary  direction. 

7th  Figure,  the  same  movements  as  the  6th,  except 
that  each  set  moves  in  opposite  directions,  one  mov¬ 
ing  to  the  right,  the  other  to  the  left,  and  vice  versa . 

8th  Figure,  all  bend  the  arms,  bringing  the  hands 
to  the  shoulders.  The  band,  now  held  by  the  right 
hand  of  one  partner  and  left  hand  of  another,  will 
I  pass  across  the  chest  of  both,  bringing  them  closer, 
side  by  side.  Now  turn  and  curtsey  to  each  other, 
and  then  to  their  vis-a-vis .  Now,  one  side  of  the  set 
extend  the  arms  upward,  the  two  partners  turning 
face  to  face ;  then  the  vis-a-vis ,  with  their  hands  at  the 
shoulders,  pass  under  the  band  held  aloft  by  their  op¬ 
posites,  and  then,  passing  again  between  them  and 
under  the  band,  go  back  again  to  their  places.  The 
first  couple  will  now  remain  in  their  places,  after  hav¬ 
ing  shifted  the  handles  so  that  they  are  held  by  both 
right  hands.  The.  arms  being  extended  upward,  this 
couple  will  face  toward  their  vis-a-vis  and  remain 
thus  while  their  vis-a-vis  executes  the  same  move¬ 
ments  as  the  first  couple. 

9th  Figure,  the  end  sets  only.  The  movements  are 
— The  vis-a-vis  of  the  end  couple  now  pass  under  the 
band  held  aloft  by  the  end  couple,  turn  and  come 
back.  The  end  couple  now  lower  their  band  for  the 
other  couple  to  pass  their  band  over  the  heads  of  the 


118 

end  couple,  and  pass  on  the  outside  of  the  end  couple. 

10th  Figure.  The  end  couples  start  from  their  pla¬ 
ces  and  pass  under  the  band  of  tlieir  vis-a-vis ;  then 
;  raising  their  band  aloft  move  forward  on  each  side 
I  of  the  first  couple  in  the  next  set,  carrying  the  band 
|  over  the  heads  of  this  couple  and,  lowering  their 
hands,  pass  between  the  second  couple,  and  under  the 
|  band  of  the  second  couple,  raising  their  own  band 
again  to  pass  over  the  heads  of  the  third  couple,  pas¬ 
sing  outside  of  them,  as  before.  In  this  manner  passing 
I  between  each  alternate  couple,  raising  and  lowering  the 
band  alternately,  until,  meeting  with  the  other  end 
couple,  which  has  performed  the  same  series  of  move¬ 
ments,  these  two  couples,  meeting  half  way,  bow  to 
each  other,  turn,  and  in  the  same  series  of  movements 
pass  back  to  their  places.  This  figure  is  ended  by  all 
bowing  to  partners,  then  to  vis-a-vis,  and  lastly,  ex¬ 
tending  the  arms  upward. 

11th  Figure.  The  end  couples  do  not  turn;  but  all 
|  the  other  couples  in  the  sets  turn  back  to  back,  form¬ 
ing  news  sets  with  their  neighbors,  and,  exchanging 
handles  with  them,  extend  the  arms  upward,  forming 
“  The  Canopy.”  This  will  leave  the  two  end  couples 
without  a  vis-a-vis,  and  with  their  faces  turned  from 
the  sets. 

12th  Figure.  The  new  sets  having  formed  “  The 
1  Canopy,”  the  end  couples  turn,  facing  the  sets,  and 
the  couples  in  the  sets  turn  back  to  back;  at  the  same 
time  one  of  the  end  couple  starts-  from  their  place 
with  the  band  across  the  chest  and  hands  at  the 
shoulders,  pass  to  the  front  and  enter  under  the  canopy, 
passing  out  at  the  other  side  at  the  same  time  that 
the  end  couple  passes  out.  Those  forming  the  canopy 


114 

turn  face  to  face  again,  the  end  couple  passes  on  to 
the  other  sets,  who  perform  the  same  movements  as 
the  first  set,  the  end  couple  pass  under  the  canopies 
from  the  front,  thus  describing  a  serpentine  line  in 
passing  in  and  out.  The  same  couple,  after  passing 
through  all  the  sets,  return  by  the  same  series  of 
movements,  back  to  their  places.  ]STow  the  other  end 
couple  start  from  their  place,  and  execute  the  same 
movements,  and  back  to  their  places. 

This  figure  requires  four  sets.  The  end  couples  re- 
|  main  as  they  were,  as  also  the  two  adjoining  sets, 

|  but  thebniddle  set  breaks  up,  separating  the  bands, 

I  and  both  couples  turn  back  to  back,  holding  their 
bands  aloft.  This  will  make  two  sets  of  eight  each. 

!  The  two  couples  forming  the  canopy  now  move  in  a 
j  circle,  to  the  right,  while  each  of  the  outside  couples 
|  move  around  to  the  left,  two  outside*  couples  revolve 
|  around  each  canopy,  which  moves  slowly,  while  the 
!  outside  couples  move  quickly.  Those  forming  the 
|  canopy  move  around  in  a  slow  waltz  step. 

Forming  tho  Bow§r> 

The  position  is  as  shown  in  the  first  frontispiece. 
If  desired,  the  same  series  of  movements  having  been 
j  performed  as  described  on  page  103,  the  column  to  the 
right  wheels  facing  to  the  right;  this  will  bring  the 
bands  crossed;  then  all,  with  the  schottische  step, 

1  move  sideways  to  the  rear,  then  forward  again  to  their 
I  places,  then  with  the  same  step,  move  first  to  the  right, 
j  then  to  the  left,  then  to  places.  Now  the  column  to 
the  right  wheels  back  again  ;  the  first  two  persons  op- 
:  posite  each  other,  forming  the  first  couple,  step  forward 


115 

a  few  steps,  at  the  same  time  the  lines  lower  their  hands 
to  the  shoulders,  and  advance  toward  each  other.  The 
first  couple  now,  with  the  schottische  step,  pass  to  the 
rear,  outside  of  the  columns,  and  carry  the  bands  over 
the  heads  of  the  columns.  The  first  couple  having 
reached  the  rear  end  of  the  column,  the  other  couples 
follow  next  in  order,  and  in  like  manner  until  the  last 
couple  is,  by  this  change  of  position,  brought  in  front. 
The  columns  now  separate,  forming  in  open  order  as 
at  first,  and  extending  the  arms  upward,  form  “  The 
Bower.”  The  rear  couple  now  lower  their  bands,  and 
j  pass  under  the  bower  to  the  front;  the  other  couples 
follow  next  in  order,  until  all  have  resumed  their 
original  places. 

Folding  the  Sand, 

When  the  apparatus  is  no  longer  required  to  be 
|  used,  bring  the  two  handles  together.  This  will  make 
j  the  band  double  to  half  its  length.  In  this  shape  the 
I  band  is  to  be  wound  spirally  around  the  two  handles 
forming  the  strands;  then  slip  the  elastic  tie  over  the 
i  end  of  the  band,  and  in  this  manner  it  is  secured.  The 
No.  2’s,  however,  require  to  be  folded  differently; 
the  handles  are  not  brought  together ;  the  band  is  to 
be  wound  around  one  of  the  handles  ordy,  and  with¬ 
out  doubling  the  band. 

For  class  exercise  these  movements  may  be  employed 
thus:  at  the  1st  signal  bring  both  handles  together,  at 
the  2d  wind  up  the  band,  at  the  3d  turn  the  handles 
upside  down,  and  slip  the  elastic  tie  over;  5th,  both 
arms  down  at  the  sides. 


JpXERCISES  FOR  THE  0LASs4|OOM. 

In  school,  when  it  is  desired  to  use  them  in  crowded 
class  rooms  without  the  scholars  rising  from  their  seats, 
as  a  relaxation  and  relief  for  an  instant,  select  any  of 
the  following  from  the  1st  and  2d  series.  In  those 
;  exercises  in  which  the  band  is  held  with  arms  down 
!  at  full  length,  it  will  be  necessary  to  modify  that  po¬ 
sition,  when  the  scholars  are  seated,  by  holding  the 
lower  hand  level  with  the  waist : 

3d,  11th,  14th,  16th,  23d,  26th,  48th,  52d,  54th,  75th, 
78th,  85th,  91st,  96th,  (3d,  11th,  1 7th  and  24th,  are  not 
to  be  used  in  2d  series),  and  combined  exercises,  as  in 
the  following  examples:  one  band  to  two  persons  held 
aloft  by  the  right  hand:  1st,  moving  the  arms  from 
the  perpendicular  to  the  horizontal  in  front,  and  bent 
with  the  shoulders  :  2d,  down,  bringing  the  hands  on 
the  knees;  3d,  up  again  to  the  shoulder;  4th,  perpen¬ 
dicular,  and  also  stretching  the  band  by  the  hands, 
moving  in  opposite  directions  when  level  with  the 
shoulder.  Repeat  any  of  those  movements.  Another 
mode  of  combined  exercise,  when  seated,  is  with  two 
bands,  those  on  the  front  seats  passing  one  end  of  their 
band  to  those  on  the  second  row  of  seats,  who  like- 
i  wise  pass  one  end  of  their  band  to  those  on  the  first ; 
the  first  and  second  rows  having  hold  of  one  band 
by  the  right  hands,  and  the  other  by  the  left  hands, 
the  bands  will  pass  over  the  shoulders  of  those  on  the 
front  bench. 

Movements. — 1st,  extending  the  arms  upward  ;  2d, 
lowering  them;  3d,  moving  both  bands  forward;  4th,  | 
j  backward ;  5th  then  moving  each  band  alternately 
forward  and  backward  ;  6th,  lowering  the  left  arms  j 


117 

and  passing  the  band  held  by  the  right  hand  over 
the  heads  to  the  left  shoulders  ;  in  this  movement  the 
right  hands  will  be  on  a  line  with  the  left  elbows, 
and  the  left  hands  with  the  right  elbows,  the  fore¬ 
arms  being  crossed  like  an  X  ;  7th,  back  to  the  per¬ 
pendicular,  repeating  any  of  these  movements. 
u  Rowing  the  Boat”  may  also  be  used  for  class-room, 
as  follows:  the  first  bench  seated  as  shown  in  the  en¬ 
graving,  but  those  on  the  second  bench,  instead  of 
having  their  backs  turned,  will  sit  as  usual,  the  bands 
being  held  one  by  the  right  hands  and  the  other  by 
the  left  hands  ;  in  the  movements,  when  those  on  the 
front  bench  extend  the  arms,  those  on  the  second 
bench  will  keep  the  hands  at  the  shoulders,  inclining 
forward  to  correspond  with  the  movements  of  those 
on  the  front  bench.  In  these  class  room  exercises 
those  on  the  other  benches  will  also  follow  the  exam¬ 
ples  here  given  ;  the  combinations  can  then  be  changed 
by  those  on  the  second  benches  exercising  with  those 
on  the  third,  those  on  the  third  exercising  with 
those  on  the  fourth,  and  so  on.  This  forms  the  re¬ 
verse  exercise  ;  those  who  were  before  exercising  the 
arms  will  in  this  be  exercising  the  chest,  and  those 
who  were  before  exercising  the  chest,  will  now  be  ex¬ 
ercising  the  arms.  When  the  room  is  not  crowded, 
and  the  pupils  exercise  standing,  any  of  the  1st,  2d 
series,  combined  or  postures  may  be  used.  When  the 
class  room  is  crowded,  the  band  may  be  shortened  as 
described  on  page  69.  So  that  the  arms  in  their  move¬ 
ments  may  not  occupy  too  much  lateral  space.  As  this 
will  only  be  necessary  for  a  few  of  these  exercises,  in 
which  the  band  is  to  be  very  slightly  stretched,  but 
little  additional  weight  will  be  added. 


1 18 

It  has  been  said,  u  all  mankind  are  invalids,”  or  in 
other  words  that  “  Health  in  perfection  is  never  seen 
I  in  such  a  world  as  ours.”  This  is  true,  since  perfect 
health  is  defined  as  “  perfect  freedom  from  pain  and 
uneasiness  at  all  times,”  but  when  the  functions  act 
with  the  nearest  approach  to  regularity,  we  call  it 
health,  and  those  who  have  it  possess  a  boon  which, 
though  invaluable,  costs  but  little  to  keep,  the  price 
being  only  moderation  and  prudence.  “  An  ounce  of 
prevention  is  better  than  a  pound  of  curef  and  with 
that  view  are  offered  a  few 

IIygienic  Hints. 

Numerous  theories  on  the  subject  of  eating  and 
drinking  have  found  their  advocates,  but  experience 
proves  that  prescribed  qualities  and  quantities  are  only 
for  the  invalid.  Each  one  is,  by  far,  the  best  judge  of 
that  which  accords  with  the  peculiarity  of  his  organi¬ 
zation.  Nature  will  speak  when  her  laws  are  about 
to  be  trasgressed,  and,  to  avoid  the  punishment  which 
will  surely  follow,  listen  to  her  “  still,  small  voice.” 
The  danger  is  not  so  much  in  the  use  as  in  the  abuse. 
The  physical  gourmand  should  remember  that  the 
stomach  requires  rest  equally  with  the  tired  brain  or 
arm,  and  the  mental  gourmand  should  also  avoid 
cramming,  be  it  with  literature  or  business  specu¬ 
lation.  “  There  is  a  time  for  everything,”  and  due 
consideration  should  be  given  to  our  dual  organiza¬ 
tion.  Early  rising  is  generally  beneficial,  as  much 
sleep  debilitates  and  also  induces  plethora.  It  is  for 
that  reason  those  of  sedentary  habits  should  rise  early ; 
while  others,  whose  pursuits  are  of  an  active  charac¬ 
ter,  should  sleep  later.  Much  and  vigorous  mental 


activity,  however,  needs  more  rest  than  bodily  labor. 
Hard  beds  are  preferable  to  soft  ones;  too  much  cov¬ 
ering  in  cold  weather  is  as  objectionable  as  too  little 
in  warm  weather. 

In  sleeping,  the  head  should  be  slightly  raised  above 
the  level  of  the  chest.  Pure  air  being  always  neces¬ 
sary,  means  of  proper  ventilation  should  be  had.  A 
cold  bath  in  the  morning  is  almost  always  beneficial, 
and  will,  if  persevered  in,  render  the  skin  less  sensitive 
to  atmospheric  changes.  The  full  bath,  half  bath,  or 
sponge  bath,  may  be  used,  but  in  bathing  the  head 
should  not  be  wet.  There  is  in  every  one  more  or  less 
determination  of  blood  to  the  head.  The  cold  bath 
draws  it  from  the  head.  If  the  ordinary  modes  of 
bathing  are  not  convenient,  bending  over  a  basin, 
and  pouring  cold  water  over  the  back,  the  chest 
and  back  of  the  neck,  is  highly  beneficial,  and  an  al¬ 
most  certain  preventive  of  sore  throat.  A  cold  foot 
bath,  at  night  on  retiring,  serves  to  prevent  a  too  great 
tendency  of  blood  to  the  brain  during  sleep.  A  glass 
of  cold  water,  drank  on  going  to  bed  and  after  the 
bath  in  the  morning,  promotes  digestion.  After  bath¬ 
ing,  it  is  not  necessary  to  dry  or  dress  very  quickly ; 
the  air  is  tonic  in  its  action  on  the  skin,  and  may 
therefore  be  allowed  to  assist  in  absorbing  the  moisture 
and  closing  the  pores ;  but  a  current  or  draught  shoul  d 
be  avoided.  A  tepid  bath  and  soap  may  be  used  oc¬ 
casionally  to  cleanse  the  skin.  The  evil  effects  of  wet 
feet  may  be  prevented  by  using  the  cold  foot  bath  as 
soon  as  possible,  and  of  wet  clothing  by  the  cold  bath 
for  the  body.  Very  hot  food  and  drinks  are  injurious; 
so  are  very  cold  ones.  Either  are  likely  to  inflame  the 
membrane,  and  extremes  are  always  hurtful.  Bolting  the 


120 


food  is  a  prevalent  and  an  injurious  habit.  It  is  not 
what  we  eat,  but  what  we  digest  that  nourishes.  Too  | 
much  clothing  in  Winter  and  too  little  in  Summer  ( 
should  be  guarded  against.  Woolen  under-clothing 
should,  if  possible,  be  always  worn.  The  garments  used 
by  day  should  not  be  used  to  sleep  in  at  night.  Regu¬ 
larity  of  habit ,  timely  exercise  for  both  body  and  mind,  ! 
tend  to  give  happiness,  comeliness  and  strength. 


IN3DEX. 


Necessity  of  Physical  Culture - 7 

Introductory -  11 

Testimonials  and  Extracts  from  the  Press _  14 

Sizes _ -  -  -  -  - -  -  - -  25 

Directions - .. - -  25 

First  Series _  27 

Chest,  Arm  and  Shoulder  Exercises . 

1st,  25 tli,  33d,  39th,  59th,  86th,  91st. 

Arm  and  Chest  Exercises. 

2d,  6th,  18th,  42 d,  56th,  61st,  63d,  65th. 

Arm  and  Shoulder  Exercises. 


3d,  8th,  10th,  12th,  13th,  14th,  28th,  29ih,  32d,  35th, 
43d,  46th,  48ih,  50tli,  51st,  52d,  53d,  54tli,  57th, 
58th,  64th,  70th,  720,  79th,  80tli,  81st,  90ih,  93d. 

Ann  and  Chest  Exercises. 

4th,  7th,  15th,  44th,  68th,  73d,  82d,  95th. 

Chest ,  Arm ,  Shoulder  and  Elboic  Exercises. 

5th,  40th. 

Ann ,  Wrist  and  Shoulder  Exercises. 

9th,  37th,  38th.  . 

Arm  and  Elbow  Exercises. 

16th,  19th,  26th,  34th,  45th,  74th,  75th,  87th. 

Wrist  and  Arm  Exercises. 

11th,  17th,  24th,  88th. 

Elbow ,  Wrist  and  Arm  Exercises. 

20tli,  69tli. 


ii. 

Fikst  Series — Continued. 

Chest  and  Shoulder  Exercises. 

21st,  22d,  30th,  36th. 

Elbow  and  Shoulder  Exercises. 

23d. 

Shoulder ,  Elbow  and  Arm  Exercises. 
27th,  31st,  49th,  55th,  83d,  92d. 

Chest ,  Shoulder  and  Wrist  Exercises. 

41st. 

Wrist  and  Shoulder  Exercises. 

47th. 

Spine ,  Arm  and  Shoulder  Exercises. 
60th,  94th. 

Arm  Exercises. 

62d,  71st,  76th,  89th,  96th. 

Spine,  Arm,  Shoulder  and  Chest  Exercises. 
67th,  77th,  84th. 

Arm,  Elbow  and  Chest  Exercises. 

67th. 


Shoulder  Exercises. 

78th,  85th. 


To  Shorten  the  Band _ 

Second  Series — Slow  Exercises 

Tableaux _ 

Third  Series _ _• _ 

The  Health  Lift . . 

The  Pulleys.. _ _ 

Rowing  the  Boat _ 

Fourth  Series — Postures _ 

The  Salaam . . 

The  Supplicant _ 

The  Reaper _ 

The  Sharpshooter. .  __ 

The  Marksman _ 


page. 

69 
.  70 

..  73 

..  74 

__  74 

..  76 

- .  77 

79 
..  79 

..  80 
81 
82 
83 


iii. 

Fourth  Series — Continued.  page. 

The  Archer _ _ _  84 

The  Winged  Messenger _  86 

The  Harlequin . . . . : _  87 

The  Gymnast _ _ _  88 

The  Dancer _ _ _ . .  _  89 

“  second  position _  89 

Fifth  Series — Combined  Exercises _ _  _  91 

The  Fencers _  _ _ _ _  91 

The  Wrestlers _ 93 

The  Athletes _ 95 

The  Racers _ 96 

The  Combatants _ 97 

The  Gymnasts . 98 

To  Teachers  and  Others _ _  99 

Music _ ' _ 100 

Signals _ _ _ _ _ . . .  100 

The  Handles  Used  as  Castanets _  101 

Class  Exercise _ 101 

Unrolling  the  Band _ 102 

The  Salaam  Class.  .. _ 103 

Forming  the  Bower  Class _  103 

Forming  the  Cross-Bower  Class _ 104 

Forming  the  Hollow  Square _  104 

Forming  the  Arches _  106 

Forming  the  Groves _ _ ...  _  107 

The  Moving  Canopy _ 107 

The  Fencer’s  Class.  _ 108 

The  Oarsmen’s  Class _  108 

i  Forming  the  Canopy _ 109 

I  Forming  the  Bouquet _  109 

Quadrilles,  Waltzes,  Schottische,  &c _  110 

How  to  Adapt  Them _  _  110 

Quadrtlle  Figures _ 111 

The  Planets _ 114 

Forming  the  Bower  Quadrille _ 114 

!  Folding  the  Band _ _ 115 

i  Exercises  for  the  Class  Room _ 116 

I  Hygienic  Hints _  ..  _ 118 


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